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72- 14,120 f RIOS, F r a n c i s c o Armando, 1932AN EIGHTEENTH-CENTURY POETIC SENSIBILITY: FRAY DIEGO TADEO GONZALEZ. [ P o r t i o n s o f T ext in S p a n ish ]. The U n i v e r s i t y o f Oklahoma, P h .D ., 1971 Language and L i t e r a t u r e , modern

University Microfilms, A XEROXC om pany, A nn Arbor, Michigan

r

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED

THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE

AN EIGHTEENTH-CENTURY POETIC SENSIBILITY; FRAY DIEGO TADEO GONZALEZ

A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY i n p a r t i a l f u l f i l l m e n t o f t h e r e q u ir e m e n ts f o r th e de g re e o f DOCTOR OF PHILOSOPHY

BY FRANCISCO ARMANDO RÏOS Norman, Oklahoma 1971

AN EIGHTEENTH-CENTURY POETIC SENSIBILITY: FRAY DIEGO TADEO GONZALEZ

APPROVED BY

P,

DISSERTATION COMMITTEE

PLEASE NOTE: Some pages have indistinct print. Filmed as received.

University Microfilms, A Xerox Education Company

ACKNOWLEDGMENT

I s h o u l d l i k e t o acknow ledge t h e a s s i s t a n c e o f t h e f o llo w in g members o f t h e Modern Language D epartm ent o f t h e U n i v e r s i t y o f Okla­ homa who form ed ray d i s s e r t a t i o n com m ittee:

Dr. James H. A b b o tt,

c h a irm a n ; D r. Jim P. A rtm an; Dr. B esse A. Clem ent; Dr. Low ell Dunham; Dr. Law rence P o s to n . I s h o u l d a l s o l i k e t o t h a n k P r o f e s s o r L u is Monguio o f th e Uni­ v e r s i t y o f C a lif o r n ia a t B e r k e le y 'f o r h is su g g e stio n s w ith re g a rd to t h i s d i s s e r t a t i o n and t o t o p i c s o f f u r t h e r s tu d y . F o r h e r encouragem ent and h e l p a t a l l s t a g e s o f t h i s work— i n ­ c l u d i n g co m parison o f t e x t s , t y p i n g o f t h e f i n a l copy, x e r o x in g , and g e n e r a l k n o w l e d g e a b i l i t y i n t h e l a b y r i n t h o f d e a d l i n e s and C o lleg e r e q u i r e m e n t s — I s h o u ld l i k e t o th a n k my w i f e , L a v e rn e .

Ill

TABLE OF CONTENTS

C h ap ter I. II. III.

Page

THE EIGHTEENTH CENTURY IN RETROSPECT...................................... EIGHTEENTH-CENTURY POETRY BEFORE FRAYDIEGOGONZALEZ

1

. . .

II4

THE SALAMANCAN SCHOOL OF POETRY.............................................................. '

IV.

FRAY DIEGO TADEO GONZALEZ.................................................................

38

V.

THE POETRY.................................................................................................

53

VI.

STYLISTIC DEVICES IN THE POETRY OF FRAY DIEGO GONZALEZ

.

20

. 2lk

CONCLUSION............................................................................................................................. 231 BIBLIOGRAPHY ....................................................................................................................

235

APPENDIX I ............................................................................................................................. 239 APPENDIX I I .......................................................

IV

2kk

M EIGHTEENTH-CEETIIRY POETIC SENSIBILITY; FRAY DIEGO TADEO GONZALEZ

CHAPTER I

THE EIGHTEENTH CENIURY IN RETROSPECT

A l l t o o o f t e n , when r e a d i n g o f t h a t p e r i o d o f S p a n is h l i t e r a r y h i s t o r y b etw een t h e Golden Age an d R o m a n tic ism , one comes upon such te rm s a s " d e c a d e n t " s t e r i l e , " a n d " f o r e i g n " ; m anuals o f S p a n is h l i t e r a t u r e commonly s l i g h t a p e r io d o f f u l l y one hundred an d f i f t y y e a r s , fro m t h e d e a t h o f C alderon i n I 68I t o t h e r e t u r n o f t h e em ig ra d o s i n I 8 3 6 . few :

The e x c e p tio n s t o t h i s r u l e o f n e g l e c t a r e r e l a t i v e l y

F e i j o o , I s l a , V i l l a r r o e l , C a d a l s o , J o v e l l a n o s , Ramon de l a C ru z ,

M e len d e z, and t h e younger M o ra tin .

And even some o f t h e s e a u t h o r s

a r e e x p l a i n e d away a s e ig h te e n t h —c e n t u r y a n a c h ro n is m s — " t r a n s i t i o n a l , " " p r e c u r s o r s , " " p re -R o r n a n tic s ," " C l a s s i c a l i n fo rm . Romantic i n s p i r i t . " V i l i f i c a t i o n o f t h e e i g h t e e n t h c e n t u r y , how ever, i s n o t s o l e l y a t w e n t i e t h - c e n t u r y phenomenon; i t b e g a n i n t h e e i g h t e e n t h c e n t u r y i t s e l f , t h e most famous condemnation b e i n g t h a t o f Ju an P a b lo F o r n e r : E stâm es en un s i g l o de s u p e rf i c i a l i d a d . Oigo l l a m a r l e p o r t o d a s p a r t e s s i g l o de l a r a z o n , s i g l o de l u c e s , s i g l o i l u s t r a d o , s i g l o de l a f i l o s o f î a . Yo l e l l a m a r i a m e jo r s i g l o de e n s a y o s , s i g l o de d i c c i o n a r i o s , s ig lo de d i a r i o s , s i g l o de im p ie d a d .

s ig lo h a b la d o r5 s ig lo c h a rla ta n , s ig lo o s te n ta d o r.^ And th e f o l l o w i n g s a t i r i c a l o b s e r v a t i o n , from t l i e l a t e e i g h t e e n t h c e n t u r y , i s t a k e n b y a modern c r i t i c a s "an

a p t cap tio n fo r a la rg e

p a r t of t h e p o e t i c p r o d u c ti o n o f th e a g e " :

"En l a p o r t a d a , a manera

d e em p re sa , un e l c f a n t e e n j a u l a d o , con e s t e m ote: In a f u n d a m e n ta l l a t e n i n e t e e n t h - c e n t u r y

'No s e a giie

v u o le '

work on t h e e i g h t e e n t h

c e n t u r y , E m ilio C o t a r e l o y Mori m - i t e s : . . . e l s i g l o p a s a d o no es cono cido to d o l o que m erece, n i aun b ajo e l a s p e c to l i t e r a r i o . La i n d i g n a c io n e x c e s i v a de M o r a tin , como d i c e un e s c r i t o r em in en te /Canovas d e l C a s t i l l b y , c o n t r a l o s a u t o r e s de su tiern p o , y e l d e s p r e c i o con que Q u in ta n a t r a t o a c a s i t o d a l a p ro d u c c io n de l a a n t e r i o r c e n t u r i a , h i c i e r o n que n a d i e c a y e s e en l a t e n t a c i o n de a b r i r nuevaroente e s t e p r o c e s o , y l e t r a s , c i e n c i a s y a r t e s f u e r o n e n v u e l t a s en un comûn y g e n e r a l a n atem a . A d e m o s tr a r l a i n j u s t i c i a de t a l p r o s c r i p c i o n , a l menos de su p a r t e l i t e r a r i a , v i n i e r o n su cesiv ain en te dos o b ra s ya c l a s i c a s aunque m odernas /h e o p o ld o A ugusto de C ueto , Bosque,jo h i s t o r i c o c r i t i c o de l a p o e s i a c a s t e l l a n a en e l s i g l o XVIII ( I 8 6 9 ) ; M elendez y P e l a y o , H i s t o r i a de l a s id e a s e s t e t i c a s en Espaha ( l 886%7 , q u e , p r o f u n d iz a n d o en e l e s t u d i o d e a q u e l l a e r a , h a l l a r o n a l g o mas que a q u e l l a t a n p reg on ada b a r b a r i e que s o l i a a c h a c â rse le .3 However, i n one o f t h e works r e f e r r e d t o by C o t a r e l o , C u e to , upon re a c h in g th e

end o f what ho c a l l s h i s " i n g r a t a y p r o l i j a

i s le s s th a n j u s t .

ta re a ,"

He c o n c lu d e s t h a t F o rn e r was r i g h t , t h a t th e

e i g h t e e n t h c e n t u r y was a tim e o f d e c a d e n c e , o f t r a n s i t i o n , o f p r o ­ f o u n d m o ra l and l i t e r a r y ch an g e ; i t i n v e s t i g a t e s r a t h e r t h a n c r e a t e s .

^Q uoted by Leopoldo A ugusto de C ueto, "B osquejo h i s t o r i c o c r i t i c o de l a p o e s i a c a s t e l l a n a en e l s i g l o X V I I I ," P o e tas l i r i c o s d e l s i g l o a V I I I , Tomo p r i r i e r o , B. A . E . 6l (M adrid: R iv a d c n e y ra , I 8 6 9 ) , p . CCXXXVI. 2 "W illiam A t k i n s o n , "L u is de Leon i n E i g h t e e n t h C en tu ry P o e t r y , " Re\'Ue H i s p a n i q u e , 8l ( 1 9 3 1 ) , p . 3Ô3. 3

E fu ilio C o t a r e l o y M ori, J r i a r t e y su ep o ca (Madrid: Academia E s p a n o l a , 1.897), p . v i .

Real

2

3 i t vreakens r e l i g i o u s f a i t h , d im in is h e s t h e t r a d i t i o n a l c h a r a c t e r o f t h e n a t i o n , an d seems t o b e b u t t h e p r e p a r a t i o n f o r a n o t h e r c e n t u r y . I t i s a c e n t u r y , i n f i n e , w i t h o u t i t s ovm i d e a s , w ith o u t, d e f i n i t i v e d o c t r i n e s , w it h o u t m o ra l e n e r g y , w ith o u t e n t h u s i a s m , and w ith o u t p o etry .

N e v e r t h e l e s s , Cueto a d m its t h a t i n t h i s c e n t u r y t h e r e a r e

new f o r c e s an d ne\r t r u t h s w hich h o ld b o th p ro m ise an d t h r e a t f o r t h e fu tu re . Por l o mismo, e l s i g l o X V III, t a l como f u e , t a l como l o h i c i e r o n l a s l e y e s p r o v i d e n c i a l e s d e l a h i s t o r i a , es d ig n o d e p ro fu n d o e s t u d i o en to d a s s u s m a n i f e s t a c i o n e s m o r a l e s , p o l i t i c a s y l i t e r a r i a s . Con r e s p e c t o a l s o n tim ie n t o de l o b e l l o en l a s l e t r a s am enas, que es e l p u n to de v i s t a p e c u l i a r d e l p r é s e n t é e s t u d i o , poco l i s o n j e r o es e l j u i c i o a b s o l u t e que puede fo rm a rs e r e l a t i v a r a e n t e a l a Espaha d e l s i g l o X V III. Tlie e x t e n t t o w hich t h e e i g h t e e n t h c e n t u r y h a s b e e n n e g l e c t e d and even d i s d a i n e d in t h e t w e n t i e t h c e n t u r y was d e s c r i b e d alm ost two d ecades ago i n an a r t i c l e e n t i t l e d " D e s i d e r a t a i n E i g h t e e n t h C e n tu ry S p a n is h S c h o l a r s h i p " ; t h e a u t h o r q u o te s A z o r i n ’ s d i s m i s s a l o f l i f e i n e i g h t e e n t h - c e n t u r y S p ain a s " l a p a z g u a t a , r i g i d a , s e c a , m u e rta e x i s t e n c i a de l a Espaha i n t e l e c t u a l y u n i v e r s i t a r i a d e l s i g l o XVIII — Espaha de e r g o t i s t a s y d i s p u t a d o r e s v a c u o s . "

R o m era-Iiavarro

i s q uoted as s a y in g o f t h e same p e r i o d , " l a l i t e r a t u r a d e a q u e l s i g l o es l a menos o r i g i n a l y v a l i o s a d e n u e s t r a h i s t o r i a m o d e rn a ." G e ra ld B renan, who e ls e w h e re has w r i t t e n so s y m p a t h e t i c a l l y o f S pain and S p a n is h l e t t e r s , r e p e a t s i n h i s h i s t o r y , Tne L i t e r a t u r e o f t h e S p an ish P e o p le , what i s a m a n if e s t 'u n tr u th :

^‘C u e to , op. c i t . , p p . C C X X iari-C C X X X V II. ^Jacob O r n s t e i n , " D e s i d e r a t a i n E i g h t e e n t h - C e n t u r y S p an ish S c h o l a r s h i p , " h i s p a n i a , XXXV (A u g ., 3 9 5 2 ) , p . 2 96.

Tlie e i g h t e e n t h c e n t u r y came i n w i t h h a d omens: t h e n a t i v e t r a d i t i o n was e x h a u s te d and t h e o n ly f o r e i g n i n f l u e n c e was t h a t of F r a n c e . The v e r s e o f t h i s p e r i o d c o n s i s t s , t h e r e f o r e , of d u l l r e g u r g i t a t i o n s o f e a r l i e r p o e t s such a s Lope de Vega and of f r i g i d , academ ic i m i t a t i o n s from t h e F re n c h c l a s s i c s . Wio w ere t h e F re n c h w r i t e r s so d u l l y r e g u r g i t a t e d by t h e S p an ia rd s? T h e re w ere no F r e n c h p o e t s i n t h e e i g h t e e n t h c e n t u r y w orthy o f i m i t a t i o n . Were t h e s e " F re n c h c l a s s i c s " t h e p o e t s o f t h e s i x t e e n t h and seven­ te e n th c e n tu rie s?

We s h a l l s e e a g a i n and a g a i n t h a t t h e models of

good t a s t e a n d s t y l e f o r S p an ish p o e t s t h r o u g h o u t m ost o f t h e e i g h t ­ e e n t h c e n t u r y w ere t h e b u c o l i c p o e t s o f a n t i q u i t y and t h e S panish l y r i c p o ets of th e s ix te e n th cen tu ry .

I n d e e d , t h e e i g h t e e n t h c e n tu r y

r e - d i s c o v e r e d t h e p o e t s o f t h e S p a n is h R e n a i s s a n c e a n d i s t h e l i n k betw een t h e G olden Age and R om anticism .

T h is much i s a d m itte d even

when t h e c e n t u r y a s a whole i s d is m i s s e d a s d u l l .

For example, one

o f t h e c r i t i c s a l r e a d y q u o te d co ncedes t h e im p o r ta n c e o f t h e e i g h t e e n t h c e n t u r y even w h ile he draws an u n f a v o r a b l e c o n c l u s i o n from t h e s i m i l e o f th e caged elep h an t. The e l e p h a n t was to o e f f e c t i v e l y s h a c k l e d by p o l i t i c a l and s o c i a l c o n d i t i o n s t o a t te m p t f l i g h t ; enough t h a t i t s lim b s were not w h o lly a t r o p h i e d . And when r o m a n tic is m w ro ugh t t h e d is e n c h a n t­ ment and gave back t h e s i n g i n g - b i r d , t h e r e v o l u t i o n a r y i n th e new norms c o u ld n e v e r o b s c u re t h e e v o l u t i o n a r y . T h is b r i e f c o n s p e c t u s o f some i n vjhom a p a r t i c u l a r fe rm e n t / s t a r t e d by F ray L u is de L e o n / k e p t w orking has t r i e d t o show t h a t , d u l l as t h e e i g h t e e n t h c e n t u r y may b e , i t h a s i t s im p o r ta n c e i n t h e c o n t i n u i t y of l i t e r a t u r e . ? I n t h e work j u s t q u o te d , t h e a u t h o r s t u d i e s t h e c o n s i d e r a b l e i n f l u e n c e o f F r a y L u is de Leon i n a number o f l a t e e i g h t e e n t h - c e n t u r y p o e t s .

^ G e ra ld B re n a n , The L i t e r a t u r e o f t h e S p a n is h P e o p le (C le v e la n d : World P u b l i s h i n g C o ., 1 9 6 $ ) , p . 7

A t k i n s o n , op. c i t . , p . 375.

5 s p e c i f i c a l l y t h o s e i n S alam anca.

To d i s m i s s , a t t h e end o f t h e

a r t i c l e , t h e e n t i r e c e n t u r y a s d u l l i s t o i n f e r t h a t t h e i n f l u e n c e of F r a y L u is in no v/ay m i t i g a t e d —p e rh a p s even c o n t r i b u t e d t o —t h a t d u l l ­ ness.

Such i n s i s t e n c e on t h e d u l l n e s s o f t h e e i g h t e e n t h c e n t u r y i s

c o m p le te ly g r a t u i t o u s a n d , u n f o r t u n a t e l y , de r i g o r . A nother o f the- myths c o n t r i b u t i n g t o t h e n e g l e c t o f t h e S p an ish e i g h t e e n t h c e n t u r y i s t h a t i t i s so u n -S p a n is h , a f r a n c e s a d o r a t h e r th a n c a stiz o .

An a t t e m p t t o combat t h i s and o th e r such myths i s made by

R u s s e l l P. S eb o ld i n " C o n tra l o s m ito s a n t i n e o c l a s i c o s e s p a h o l e s . " P r o f e s s o r Sebold t a k e s a s h i s p o i n t o f d e p a r t u r e one o f t h e common­ p l a c e s o f S p a n is h l i t e r a r y h i s t o r y : " . . . t h e a g e c a l l e d n o o c l a s s i c ' i s c h a r a c t e r i z e d . . .by i m i t a t i o n of F r e n c h and c l a s s i c m o d e ls ." E l l e c t o r de e s t e p a s t e r i t u a l se forma l a t r i l l a d a imagen m e n ta l de una epoca p o b la d a p o r F e d r a s , AncLroi.iacas y I r i l a u i c o s de t e r c e r a mano, cuya f a l t a de r e l i e v e se a l i v i a t a n s o l o con u n a s c u a n t a s odas p a s t o r i l e s ta m b ie n d e t e r c e r a mano. A nte t a l e s " d a t o s , " n a t u r a l m e n t c , n a d i e q u i e r e d a r s e l a m o l e s t i a de co g er t a l e s l i b r e s d e l e s t a n t e . Mas se nos p r é s e n t a u n a c u r i o s a c o n t r a d i c c i o n cuando l o s h i s t o r i a d o r e s dc l a l i t e r a t u r a l l e g a n a i d e n t i f i c a r l o s raodelos c o n c r e t o s de l o s n e o c l a s i c o s e s p a h o le s . En l a p o e s i a l i r i c a , p o r e je ra p lo , l o s h i s t o r i a d o r e s no nos s e h a la n l a s o b ra s de M alh erb e , B o i l e a u , J e a n - B a p t i s t e R o u sseau , Houdar d e l a M otte n i V o l t a i r e , s i n e l a s d e G a r c i l a s o , f r a y Luis de Loon, R i o j a , Quevedo y E s te b a n Manuel d e V i l l e g a s . ” I n f a c t , say s S e b o ld , i f i t were n o t f o r t h e c r e a t i v e and c r i t i c a l work of t h e e i g h t e e n t h c e n t u r y , i t i s p o s s i b l e t h a t to d a y we would n o t know t h e p o e t r y o f G a r c i l a s o , wdiich, when i t was r e - p r i n t e d i n 1 7 6 5 , had n o t s e e n a new e d i t i o n f o r one hundred and f o r t y - t h r e e years.

S i m i l a r l y , t h e p o e t r y o f F ra y Luis de Leon had n o t been

p r i n t e d f o r one liu ndred and t h i r t y y e a r s when i t was r e - p r i n t e d i n

^ R u s s e l l P . S e b o ld , "C o n tra l o s m ito s a n t i n e o c l a s i c o s e s p a h o l e s , " P a p e le a de Son Armadana, X>1aV ( 196^ ) , pp. 86-87.

6 1T61.

I f t o t h i s i s added th e im p o rta n c e o f t h e work o f Tomas

A n to n io S a n c h e z , who i n 1779 p u b li s h e d E l Cid and t h e works o f B erceo and t h e A r c h p r i e s t o f H i t a in P o e s i a s a n t i g u a s c a . s t e l l a n a s , one can e a s i l y a g r e e w i t h S e b o l d 's c o n c lu s io n t h a t t h e S p a n ia rd who i s p r o u d o f h i s l i t e r a r y h e r i t a g e owes an enormous d e b t to h i s own n e o - C l a s s i c s . F u r t h e r p r o o f o f t h e n a t i o n a l i n s p i r a t i o n o f S p a n is h p o e t r y i n t h e e i g h t e e n t h c e n t u r y can be found i n t h e P o e t i c a of I g n a c io Luzan. As one o f h i s r e a s o n s f o r m’i t i n g t h e P o e t i c a , Luzan say s t h a t i n S pain v e r y few h av e a p p l i e d th e m s e lv e s t o e x p l a i n i n g p o e t i c p r e c e p t s . But t h e l a c k o f f o r m a l works on p o e t i c s do es n o t mean a l a c k of p o e t s ; on t h e c o n t r a r y , t h e r e have b een many e x c e l l e n t S p an ish p o e t s , say s L uzan, who h ave had s in g u la r s u c c e s s i n t h e p r a c t i c e o f w r i t i n g p o etry .

Among t h o s e who have g a in e d im m o rta l fame th ro u g h t h e i r

v e r s e s a r e G a r c i l a s o , Camoens, t h e A rg e n s o la b r o t h e r s , and Fernando de H e r r e r a . A n d

even though Luzan ab h o rs t h e e x c e s s e s of g o n g o ris m o ,

i n r e a c t i n g a g a i n s t i t he p r a i s e s t h e S p a n ish p o e t i c t r a d i t i o n r a t h e r t h a n th a b o f t h e F re n c h ; . . . a mi e n t e n d e r , s e d eh era ta m b ie n a p r e c i a r mas un Soneto a f c c t u o s o d e G a r c i l a s o , u de L u p e r c io L eo n a rd o , u de o tr o q u a l q u i e r P o e ta dc buen g u s to , que to d o s l o s c o n c e p to s y to d a l a a f e c t a c i o n d e G ongora, 6 de o t r o s P o e ta s d e l mismo e s t i l o . ^ ^ Luzan h i m s e l f i s a s u b je c t o f c o n t r o v e r s y and m i s u n d e r s t a n d in g . Tlie c o n t r o v e r s y r e v o l v e s around t h e q u e s t i o n o f t h e P o e t i c a ' s p r o ­ venien ce:

I s i t fu n d a m e n ta lly I t a l i a n i n i t s s o u r c e s o r i s i t F re n c h

^ I b i d . , p . 113. ^■^Ignacio Luzan, La P o e ti c a , 6 r é g l a s de l a P o e s ia en g e n e r a l , y de s u s p r i n c i p a l e s e a p e c ie s (M adrid: S a n c h a , 1 7 8 9 ), I , p . 4. ^ ^ I b i d . , I , p . 125.

9

T ( i . e . , b a s e d on B o il e a n ) ?

What does i t owe t o A r i s t o t l e and Horace?

One 1928 s tu d y o f t h e P o e t i c a resiaries t h e argum ents t h a t h av e b een advanced in f a v o r o f t h e v a r i o u s t h e o r i e s o f p r o v e n ie n c e and compares t h e work o f Luzan w i t h more famous works o f t h e same t y p e : Lo que no puede menos de a d m i t i r s e , es que l a P o e t i c a , s e a g rand e o pequeiio su i n f l u j o en l a s l e t r a s e s p a ü o l a s , t i e n e un g ra n v a l o r a b s o l u t e . S i se l a compara con o t r a s p o e t i c a s fa m o s a s , hay que r e c o n o c o r que es l a mas co m p léta y docum entada que e x i s t e : l a de A r i s t o t e l c s , que ha s e r v id o de b ase a c a s i t o d a s l a s o t r a s , es f r a g r a e n t a r i a y , en muchos l u g a r e s , o b s c u r a 0 in c o in p r e n s ib le a p e s a r de l o s muchos com en tado res de g r a n s a b e r que desde 15^8 han d e d ic a d o su v i d a a a c l a r a r s u s rauchas d i f i c u l t a d e s ; l a de llo r a c iü es aûn menos c o m p lé ta que l a de A r i s t o t e l e s , a q u ie n en c a s i to d o s i g u e ; l a d e B o ileau es una i r a i t a c i ô n ( c a s i una c o p i a ) de l a de ll o r a c i o . . . . La P o e t i c a de Luzan es e l t r a t a d o mas coinp l e t o que s e ha e s c r i t o s o b r e t e o r i a s p o ê t i c a s , y s i su i n f l u j o en l a l i t e r a t u r a no h a s i d o t a n grande como c l de l a s o t r a s , l a s c a u s a s bay que b u s c a r l a s en o t r a p a r t e y no en l a o b r a m isina.^^ More r e c e n t l y , S eb o ld h a s h a d r e c o u r s e t o m odest s t a t i s t i c s t o show t h a t L u z a n 's work i s n e i t h e r " a r i s t o t e l i s m o a f r a n c e s a d o " nor g r e a t l y i n f l u e n c e d by M u r a to r i o r B o i l e a u .

13

c la im s t h a t a r e a p p a r e n t l y b a s e d

more on r i t u a l r e p e t i t i o n o f l i t e r a r y commonplaces t h a n on a c t u a l read in g of th e P o e tic a . M is u n d e r s ta n d in g s a b o u t Luzan d e r i v e from n o t r e a d i n g him. He i s , i n S e b o l d 's w o rd s, an em inent s c h o l a r an d c r i t i c , a w r i t e r whom any W estern n a t i o n w ou ld be p r o u d t o co u n t among i t s own.

ih

Luzan makes no c la im s f o r o r i g i n a l i t y ; he acknow ledges t h a t e v e r y t h i n g i n h i s book was s a i d two th o u s a n d y e a r s b e f o r e him by A r i s t o t l e . S t i l l , h i s w ish i s t o g;ive o ld i d e a s new c u r r e n c y .

P a r a d o x i c a l l y , Luzan

d e fe n d s o ld id e a s a g a i n s t t h o s e who would r e j e c t them a s b e in g 12 ■Juan Cano, La P o e t i c a dc Luzan (T oron to : T o ro n to P r e s s , 1 9 2 3 ) , pp. 4 - 9 . ^'■'Sebold, op. c i t . , p p . 9 ^ -9 5 .

U n iv e rsity of

^S '.b id . , p . 95-

8 nev/fangled or c o n t r a r y t o c u r r e n t o p i n i o n s : Bueno f u e r a que desecharanios c l o ro de I n d i a s por que v i e n e de u n nuevo mundo, y que po r l a misma a n t i p a t i a a l a s n o v e d a d e s , h u b i e s e aun q u ie n c e r r a s e l o s o jo s p o r no v e r l a c i r c u l a c i o n de l a s a n g r e , 6 l a s tu b a s f a l l o p i a n a s . . And t o a l l who would presume t o ju d g e him, Luzan o f f e r s t h i s f i n a l ad m o n itio n : A to d o e s t o ahado s o la in e n te , que a n t e s de h a c e r j u i c i o de mi o b r a , l a l e a s t o d a h a s t a e l f i n , con anirno d e s a p a s i o n a d o , y d i s p u e s t o a a b r a z a r l a v e rd a d donde q u i e r a que l a e n c u e n t r e s . ^ " The a p p e a r a n c e o f t h e P o e t i c a i n 1737 was n o t h a p p e n s ta n c e . I t was t h e r e s u l t o f a grow ing s e n s i b i l i t y i n S p a n ish l i f e and le tte rs.

The B i b l i o t e c a R e a l had b een c h a r t e r e d i n 1712, t h e Academia

E sp a n o la i n 1714. u n i v e r s a l i n 1 726.

F e i j o o beg an p u b l i c a t i o n o f h i s T e a tro c r i t i c o The y e a r 1737 a l s o saw t h e f o u n d in g o f t h e D i a r i o

de l o s l i t e r a t o s an d t h e p u b l i c a t i o n o f t h e O rig en es de l a le n g u a c a s t e l l a n a by G r e g o r io Mayans y S i s c a r ( l 6 9 9 - 1 7 8 l ) .

I n 1730 t h e

Academia de l a H i s t o r i a was c h a r t e r e d and i n t h e f o l l o w i n g y e a r t h e f i r s t o f t h e p a t r i o t i c o r g a n i z a t i o n s such a s t h e S o c ie d a d e s d e Amigos d e l P a i s was form ed t o en co u ra g e c u l t u r a l and c h a r i t a b l e w o rk s. P ro b a b ly t h e most p r o g r e s s i v e p e r i o d o f t h e e i g h t e e n t h c e n t u r y was t h e r e i g n o f C h a r le s I I I (1 7 5 9 -1 7 8 8 ).

Under t h i s e n l i g h t e n e d

d e s p o t were i n s t i t u t e d t h e re fo rm s t h a t c r e a t e d t h e b e g i n n i n g s o f a modern n a t i o n .

In 1777, f o r i n s t a n c e , C h a r le s I I I r e q u i r e d t h a t a n a ­

tomy and d i s s e c t i o n form j m r t o f t h e m e d ic a l s t u d i e s a t t h e u n i v e r s i t i e s ; he e s t a b l i s h e d t h e h o s p i t a l o f San C a r lo s i n M adrid and fo u n d e d c o l l e g e s

^■^Luzan, " P ro lo g o de l a p r im e r a e d i c i o n , " P o e t i c a , I , p p . LVILVII. ^ ^ I b i d . , p . LTX.

9 of s u r g e r y i n C ad iz and B a r c e lo n a .I T

He vas a l s o t h e f o u n d e r o r p a t r o n

of t h e B o t a n i c a l G arden , t h e A s tr o n o m ic a l O b s e r v a t o r y , t h e Sem inary f o r N o b le s , r e l i g i o u s s c h o o l s , and sc lio o ls f o r f r e e p r im a r y i n s t r u c ­ tio n .^ ^

A lso d u r i n g t h e r e i g n o f C h a r l e s I I I , t h e I n q u i s i t i o n l o s t

a lm o s t a l l o f i t s i-cniaining p o l i t i c a l pover.^'^ Thanks t o t h e Bourbon k i n g s , th e p h y s i c a l a p p e a r a n c e o f M adrid improved th r o u g h o u t t h e c e n t u r y .

Improvements b e g u n by P h i l i p V

( r e ig n e d 1T00-1T16) and F e r d in a n d VI (lT ^6-lT !j9) w ere c a r r i e d on by C h a r le s I I I , c a l l e d " e l g ra n p r o t e c t o r d e l a c a p i t a l " : A e s t e r e y y a sus m i n i s t r e s s e deben l o s e d i f i c i o s d e l Museo d e l P ra d o , d e 3a Aduana, p u e r t a s de A l c a l a y San V i c e n t e , Casa de C orreoD , Im p re n ta H a c io n a l, H o s p i t a l g e n e r a l , tem p io y c o n v e n to d e San F r a n c i s c o e l G rande, O b s e r v a to r io A s tr o n o m ic o , R e a l e s C a b a l l e r i z a s , F a b r i c a p l a t s r i a de M a r ti n e z , F a b r i c a do T a p i c o s , F a b r i c a de c h i n a ( p o r c e l a n a ) . Ademas a r r e g l o e l P rado de San Je ro n im o , l o s p a s e o s d e F l o r i d a y D e l i c i a s , e l c a n a l dc M anzanares y c a s i to d o s l o s caminos que conducen a l a c a p i t a l . In 1746 an anonytaous w r i t e r c a l l e d M adrid " l a c o r t e mas s u c i a que se conoce en E u r o p a ."

21

I n l ? 6l , two y e a r s a f t e r h i s a s c e n s i o n t o t h e

t h r o n e , C h a r le s I I I o r d e re d t h a t s id e w a lk s b e b u i l t a l o n g t h e f a ç a d e s of b u i l d i n g s , an d d r a i n p i p e s a lo n g t h e e a v e s ; he o r d e r e d c o n s t r u c t i o n of w e l l s f o r c l e a n w a te r and s e v e r s f o r s a n i t a t i o n ; i n o r d e r t o d i g n i f y th e s t r e e t s o f t h e c a p i t a l , t h e King f o r b a d e th a.t hogs be a llo w e d t o r o o t i n p u b l i c ; he im proved s t r e e t l i g h t i n g and i n s t a l l e d s e v e r a l m i le s o f s e v e r s .

To c u rb t h e a b u s e o f b e g g in g , "de que p r o v i e n s e l

abandono d e l t r a b a j o f l t i l y h o n e s to y n a c e l a m u l t i t u d d e v ago s de IT

F ernando D i a z - P l a j a , La v i d a e s p a n o la en e l s i g l o XVIII ( B a r c e lo n a : E d i t o r i a l A l b e r t o M a r t i n , I p V é ) , p . 8 7 . ^^I b id . , p . 92. on I b id ., p. 107.

^ ^ I b id . , p . 43. PI I b i d . , p. 106.

10 ambos s e x o s en q u ie n e s s e p e r v i e r t e n l a s c o s t u n i b r e s t h e King o r d e r e d t h a t m e n d ic a n ts b e ap p reh e n d ed and m a in ta i n e d a t h i s c o s t u n t i l s u c h tim e a s t h e y s h o u ld be t a k e n t o t h e p o o rh o u s e i n M adrid.

2?

To t h e modern s e n s i b i l i t y , t h e r e fo r m s and in n o v a tio n s o f t h e e i g h t e e n t h c e n t u r y may n o t seem v e r y d r a m a t i c ; v h a t was new t h e n i s now t a k e n f o r g r a n t e d .

îîu t r e f o r m , i n w h a te v e r f i e l d , d id n o t a lw a y s

come e a s i l y t o e i g h t e e n t h - c e n t u r y S p a in .

The U n i v e r s i t y o f S a la m a n c a ,

f o r i n s t a n c e , " s e a g a r r a b a a l a s p i e d r a s s e c u l a r e s y o d ia b a l a s i n n o v a c i o n e s a n d d i s d a i n e d Newton an d D e s c a r t e s in f a v o r o f A r i s t o t l - , who a c c o r d e d b e t t e r w ith r e v e a l e d t r u t h .

2S

On a more mundane l e v e l ,

t h e c e l e b r a t e d "Motin de E s q u i l a c h e " t y p i f i e s t h e r e s i s t a n c e t o change e x h i b i t e d by t h e p o p u la c e o f M adrid. Over a p e r i o d o f a lm o s t t h i r t y y e a r s , from 1716 t o 17^5, P h i l i p V had t r i e d t o ban t h e u s e o f t h e lo n g cap e and wide h a t i n M a d rid , b e c a u s e u n d e r su ch a co stum e c o u ld b e h idden n o t only an e v ild o e r, b u t a ls o sto le n o b je c ts.

I n I 766 C h a rle s I I I p r o h i b i t e d

t h e l o n g c a p e an d wide h a t among t h o s e i n t h e r o y a l s e r v i c e .

One o f

t h e K i n g 's new m i n i s t e r s , E s q u i l a c h e , an I t a l i a n , th o u g h t t h a t a g e n e r a l p r o h i b i t i o n and i t s e n e r g e t i c en fo rcem en t would s u f f i c e t o change t h e a n c i e n t h a b i t o f t h e m a d r i l è n e s .

A c c o r d in g l y , on t h e 1 0 t h

o f M arch, I 7 6 6 , t h e d e c r e e was p r o m u lg a te d i n Madrid and th e f o l l o w i n g ensued : E l famoso bando de E s q u i l a c h e d i o m o tiv e a l no menos s a b id o m o tin que l l e v a su nombre. Los a l g u a c i l e s , que, conforme a l o mandado y con h a r t a i n c o r r e c c i o n segun l o s enemigos d e l m i n i s t r e , p r o e e d i a n a m e te r a l o s c o n t r a v e n t o r e s en un p o r t a i , a c o r t a r l e s l a s c a p a s y a a p u n t a r l e s l o s s o m b rero s con a l f i l e r e s , se v i e r o n a c o s a d o s y d e s b o rd a d o s p o r l a m u l t i t u d e x c i t a d a , y l a s a n g re

^ ^I b i d . , pp. 108, 126.

2^ I b i d . , p . 8 6 .

11 c o r r i o en l a P l a z a Mayor. . . . E l re y se r e f u g i ô en e l P ardo y tu v o que p a r l a m e n t a r con l o s r e b e l d e s y e x o n e r a r a E s q u il a c h e . Use o f t h e a n c i e n t C a s t i l i a n costume c e a se d i n t h e im p o r ta n t c i t i e s ■ o nly a f t e r a more p o l i t i c a p p r o a c h by t h e a u t h o r i t i e s :

th ey d ressed

t h e hangman o f M adrid i n t h e t r a d i t i o n a l lo n g cap e and uid e-brim m ed h a t and paraded, him th ro u g h t h e s t r e e t s o f t h e c a p i t a l .

A h o rrifie d

p u b l i c soon abandoned t h e o l d h a b i t i n fa v o r o f a s h o r t e r cape and p);

th e th re e -c o rn e re d h a t."

The "Motin de E s q u il a c h e " i s dou bly s i g n i f i c a n t f o r t h e e i g h t ­ e e n th c e n t u r y :

i t s i g n i f i e s n o t o n ly th e c o n tem p o rary r e s i s t a n c e t o

c h a n g e , b u t a l s o t h e d e g re e o f p r e s s u r e which t h e a u t h o r i t i e s were w i l l i n g t o e x e r t i n o r d e r t o e f f e c t a ch an ge.

That s u b t e r f u g e s u c c e e d e d

where d i r e c t p r e s s u r e f a i l e d i s a l s o s i g n i f i c a n t :

i t is a p ra c tic a l

i l l u s t r a t i o n , a l b e i t in r e v e r s e , o f L u z a n 's p o i n t t h a t a change i s b e s t e f f e c t e d i f t h e remedy i s p r e s e n t e d i n a n a t t r a c t i v e g u i s e , . . . a l modo que a l enferm o niflo se s u e l e e n d u l z a r e l b o rd e d e l v a s o , p a r a que a s i engahado beba s i n h a s t i o n i r e p u g n a n c ia q u a l q u i e r m edicam ento p or amargo que s e a .2 5 The d i s a p p e a r a n c e o f t h e C a s t i l i a n cape from t h e s t r e e t s o f M adrid i s a f i t t i n g m etaplior f o r t h e changes t h a t were t a k i n g p l a c e in t h e l i t e r a t u r e o f t h e t i m e , f o r w ith t h e cape went " l a s o r t a n t e h o j a t o l e d a n a d e t o s c o a d o r n o ," t o be r e p l a c e d by " e l i n o f e n s i v o e s p a d in de auj.’eo p u n o ."

And p a r a l l e l t a s t e s i n l i f e and l e t t e r s condemned t h e

ca p e -a n d -sw o rd a tm o sp h ere o f t h e s e v e n te e n th c e n t u r y : Ya no hab£a n i m a n to s, n i t a p a d a s , n i musi c a s n o c t u r n a s , n i c u c h i l l a d a s t r a s cada e s q u i n a , n i r e j a s , n i j a r d i n e s , n i t e r c e r î a s de la c a y o s y c r i a d a s , n i duehas que dueriaen, ni r o d r ig o n e s

2h

I b i d . , pp. 189-191.

^^Luzan, op. c i t . , I , p. 76.

12 t o l é r a n t e s , n i a q u e l l o s p a d r e s t a n s e v e r o s , n i a q u e l lo s hermanos t a n bobos y t a n e s p a d a c h i n e s . E l p u n to de h o n r a d e j o de s e r t a n q u i s q u i l l o s o : e] r e c u e r d o de l o s a n t i g u o s s u c e s o s n a c i o n a l e s , a d v e r s o s y g l o r x o s o s , se h i z o menos v i v o ; l a misma f e , a lg o a m o rtig u a d a , no in f la m a b a ya l o s e s p i r i t u s . . . . From t h e p o i n t o f v i e v of a t r a d i t i o n a l i s t and an o rthodox C a t h o l i c , F orner was r i g h t i n a t l e a : ' : one r e s p e c t :

th e e ig h teen th

c e n t u r y was a " s i g l o de im p ie d a d ," a c e n t u r y t h a t saw th e p r o h i b i t i o n o f a u t o s sac r amen t a l e s ( 1 7 6 5 ) and t h e e x p u l s i o n o f t h e J e s u i t s (1 7 6 7 ) fro m t h e w orldw ide do m inion s o f C h a rle s I I I . as Forner sa y s, o f "ensayos . . . d ic c io n a rio s

And i t was a c e n t u r y , . . . d ia rio s ."

But

e n s a y o s , i n t e r p r e t e d one way, can mean such fu n d a m e n ta l works a s t h e T e a t r o c r i t i c o o f F e i j o o o r t h e P o e t i c a o f L u za n , t h e Informe so b re l a l e y a g r a r i a o f J o v e l l a n o s , even F o r n e r ' s own E xequias de l a le n g u a c a s t e l l a n a ; i n t e r p r e t e d a n o t h e r way, i t can mean t h e a t te m p t s made i n t h i s c e n t u r y t o m o d e rn iz e t h e u n i v e r s i t i e s a n d t o b r i n g them o u t o f t h e doldrums o f s c h o l a s t i c i s m .

D i c c i o n a r i o s one can i n t e r p r e t as t h e

D i c c i o n a r i o de a u t o r i d a d e s o f t h e Academia E s p a n o la —and by e x t e n s i o n its

O r t o g r a f i a and G ra r.ia tic a — , or a s t h e g e n e r a l s p i r i t of i n v e s t i ­

g a t i o n and c l a s s i f i c a t i o n in l i t e r a t u r e , p h i l o l o g y , and h i s t o r y . F o r n e r h im s e l f w r o te an im p o r ta n t t r e a t i s e on h i s t o r i c a l m ethodology, R e f l a x i o n e s s o b re e l modo de e s c r i b i r l a H i s t o r i a de Espaha (M adrid, 1 8 1 6 ) , and i s in t h i s r e s p e c t a c o n s i d e r a b l e e n s a y i s t a i n h i s o m r i g h t . As f o r d i a r i o s , t h e e i g h t e e n t h c e n tu r y saw m a jo r advances i n j o u r n a l i s m ; t h e r e was a p r o l i f e r a t i o n of b o th d i a r i o s a n d r e v i s t a s , among t h e m ost famous b e in g D i a r i o de l o s l i t e r a t o s en E s p a h a , E l P e n s a d o r , . 26

C o ta r e lo y H o r i , op. c i t . , p . 3 6 .

13 E l C e n s o r, and t h e M emorial l i t e r a r i o y c u r i o a o de l a C o rte de M a d r id .

27

I f t h e j o u r n a l s o f t h e tim e w ere o f t e n p u t t o base u s e s , such a s f o r f r i v o l o u s p o lem ic o r f o r p e r s o n a l a t t a c k s on o th e r a u t h o r s , F o rn e r h i m s e l f must s h a r e t h e r e s p o n s i b i l i t y .

In view o f t h e f a c t t h a t

F o r n e r ' s ovm w r i t i n g s e x e m p lify much of t h e w o r s t and t h e b e s t o f h i s tim e , i t i s u n f o r t u n a t e t h a t h i s judgment of t h e e i g h t e e n t h c e n t u r y s h o u ld be so o f t e n quo te d and so seldom q u e s ti o n e d .

27

Ju an H urtado y A ngel G o n z a l e z - P a l e n c i a , H i s t o r i a de l a l i t e r a ­ t u r e e s p a n o l a , s e x t a e d i c i o n , c o r r e g i d a y aum entada (M adrid: SAEÏA, I 9V9 ) , 698-6oq.

CHAPTER I I

EIGHTEEî^TII-CENTüRY POE'IRI BEFORE FRAY DIEGO GONZALES

E i g h t e e n t h - c e n t u r y p o e t r y h a s y e t t o be d e f i n e d by i t s ov/n s t a n d a r d s ; t h e c u r r e n t t e n d e n c y , a s d e s c r i b e d by P r o f e s s o r S e b o ld , i s t o go t o t h e e i g h t e e n t h c e n t u r y o n ly i n s e a r c h o f n i n e t e e n t h - c e n t u r y tra its : D e s g r a c ia d a m e n t e , a l h a b l a r de o b r a s n e o c 3 a s i c a s e s p a h o l a s , t o d a v i a se a c o s tu m b r a empezar por s a l t a r s e a l a t o r e r a su arrnazon n e o c l a s i c o , como s i s e t r a t a r a de un e s p a n to s o rauro c o ro n ad o de pu as que h a b i a que s a l v a r con g a r r o c h a ; y lu e g o se e s t u d i a m e t i cu lo sa m e n te a l g u n pequeiio a r r a b a l p re rro m A n tic o o r e a l i s t a d e l a o b ra .l C le a r ly i t i s a n o n - h i s t o r i c a l a p p ro a c h t o a t te m p t t o d e f in e a n epoch in t h e te r m s o f a s u c c e e d in g ag e.

A c co rd in g t o t h i s method, t h e

o b j e c t i v e ac c o m p lish m e n ts of any g iv e n c e n t u r y w i l l be s u c c e s s i v e l y p r a i s e d and m a lig n e d a s t h e s u b j e c t i v e c r i t e r i a of t a s t e a l t e r n a t e l y wax and wane.

Of e i g h t e e n t h - c e n t u r y p o e t r y , s p e c i f i c a l l y of t h e

c o l l e c t i o n made b y C ueto f o r t h e B i b l i o t e c a de Auto r e s E s p a n o l e s , Luis Monguio s a y s , " O b j e c t i v e l y , i t i s t h e r e f o r a l l t o r e a d " — " e i g h t e e n h u n d re d p ag es o f c l o s e l y p r i n t e d v e r s e . "

The t a s k o f t h e

t w e n t i e t h c e n t u r y i s t o r e a d t h i s v e r s e o b j e c t i v e l y and t o l o c a t e i t —w ith o u t a p o i o g i e s — i n th e developm ent o f S p an ish p o e t r y ; a s p u t by P r o f e s s o r Monguio,

^ S e b o ld , op. c i t . , pp. 8 4 - 8 ) . l4

15 I h av e no q u a r r e l w i t h t h e r e a d e r who, r e a d i n g f o r p l e a s u r e , s u b j e c t i v e l y p i c k s and c h o o se s w hat he l i k e s i n t h e p o e t r y o f t h e a g e s . But t h e s t u d e n t o f l i t e r a t u r e , e s p e c i a l l y t h e p r o f e s s i o n a l s t u d e n t o f l i t e r a t u r e , t h e s c h o l a r , i t seems t o me, s h o u ld bo a b l e t o add new ly d i s c o v e r e d o r r e - d i s c o v e r e d r i c h e s t o h i s fu n d o f knowledge w ith o u t j e t t i s o n i n g o t h e r p a r t s o f h i s c u l t u r a l c a p ita l. The s t u d e n t o f l i t e r a t u r e can and must s t r i v e f o r an u n d e r s t a n d i n g o f each w ork, e a c h p o e t , each p e r i o d , i n t h e i r ov.ni te r m s , an d e v a l u a t e t h e s u c c e s s or f a i l u r e o f a w o rk , a p o e t , or a p e r i o d , w ith regard, t o wliat t h e y w anted t o and c o u l d do and say w i t h i n t h e i r te m p o r a l and c u l t u r a l f r a m e w o r k . ^ From a l i t e r a r y p o i n t o f v ie w , t h e n e o - C l a s s i c a l p e r i o d b e g i n s w i t h th e p u b l i c a t i o n o f L u z a n 's Po-Stiea i n 1737 and c o n t i n u e s i n t o t h e n i n e t e e n t h c e n t u r y th r o u g h Q u in ta n a , N i c a s i o G a l l e g o , and t h e e a r l y Duque de R i v a s .

The p o etic- p r o d u c t i o n o f t h e f i r s t t h i r d o f t h e

e i g h t e e n t h c e n t u r y i s commonly l a b e l e d g o n g o r i s t i c an d i s t h e r e f o r e c o n s i d e r e d t o be an e x t e n s i o n o f t h e s e v e n t e e n t h c e n t u r y .

But i t i s an

i n j u s t i c e t o G ongora, who d ie d in 1 6 2 7 , t o say t h a t h e i s r e s p o n s i b l e f o r th e ex ce sses t h a t c r e p t in to th e p o e try of th e e a r l y eig h te e n th c en tu ry .

Even L u za n , who h a s a l r e a d y b een q u o te d on t h e " a f e c t a c i o n

de G o ngo ra," r e c o g n i z e s G o n g o ra 's g e n i u s : E s te P o e t a , que f u e d o ta d o de g ra n d e i n g e n i o , de f a n t a s i a muy v i v a , y de numen p o e t i c o , p r e t e n d i o s e n a l a r s e p o r e s t e camino r a r o y e x t r a o r d i n a r i o , usando s i n m ed id a un e s t i l o surnameute pompoDO y h u e c o , l l e n o de m e t a f o r a s e x t r a v a g a n t e s , de e q u îv o c o s , de a n t i t e s i s , de r e t r u e c a n o s , y d e u n a s t r a n s p o s i c i o n e s d e l to d o nuevas y e x t r a d a s en n u e s t r o id io m a ; aunque en l a s L e t r i l l a s , Romances, y P o e s i a s s a t i r i c a s y b u r l e s c a s en v e r s o s c o r t o s , a p a r t a n d o s e de a q u e l l a s u b lim id a d a f e c t a d a , y a c e r c a n d o s e mas a l a n a t u r a l i d a d , e s c r i b i o m ejor con p a r t i c u l a r g r a c i a y v i v e z a . ? Luzân condemns o n ly t h e u n n a t u r a l i n G o n g o r a 's v e r s e , t h a t w hich i s f o r e i g n t o t h e i n c l i n a t i o n o f t h e S p a n is h la n g u a g e i n s y n t a x , 2

Luis Monguio, "F ra y Diego Tadeo G onzalez and S p a n is h T a s te in P o e tr y in t h e E i g h t e e n t h C e n t u r y ," Romanic R eview , 52 (D e c ., I 96I ) , p. 2^2. 'L u z â n , op . c i t . . I , p . 31.

l6 v o c a b v d a r y , an d s t y l e . A modern c r i t i c . R e a l de l a R i v a , m in im izes t h e i n f l u e n c e o f Gongora i n t h e e a r l y e i g h t e e n t h c e n t u r y ; he c i t e s , f o r exam ple, t e n r e - i m p r e s s i o n s o f t h e v o rk s o f Quevedo as a g a i n s t none of t h e com plete works of Gongora.

And o f t h e r e l a t i o n s h i p b etw een Gongora and t h e

p o e t a s t e r s a n d s o n n e t e e r s who came a f t e r him . R e a l de l a R iv a a s k s : Y, en e f e c t o , no o b s t a n t e to d o l o que epuivocadainente s e haya, a firm a d o en c o n t r a , ia.ue t i e n e que v e r su g e n i a l o b ra , i n s a e i a b l e de p e r f e c c i o n e s , con l a s i n s u l s e c e s y c h a b a c a n e r i a s do e s e c o p io so grupo de c o p l e r o s d e l s i g l o XVIII d e d ic a d o s a c a n t a r q u i s i c o s a s y f r u s l e r i a s de l a v i d a f a m i l a r y c a s e r a , en e l que f i g u r a n nombres como Monto r o , S a l a z a r y H o n t i v e r o s , B e n e g a si, T a f a l l a y aun l o s mismos G erard o Lobo y T o r r e s V i l l a r r o e l ? F a i t e s de to d a emocion p e r s o n a l o e s t e t i c a y aun de l a mas i n d i s p e n s a b l e c a p a c id a d de p e n s a r , e n t e n d i a n l a p o e s i a como un don espo ntan eo de l a n a t u r a l e z a , que c o n s i s t i a en im p r o v is a i’ v e r s o s rimados s o b r e e l p rim e r tenia que se p r e s e n t a s e . . A n o th e r p o e t i c te n d e n c y o f t h e tim e was t h a t o f t h e p o e ts o f t h e maner a c u l t e r a n a : t h e i r s t o c k - i n - t r a d e was " P a la b r a s rim bom bantes, m e t a f o r a s d e s c o m u n a le s , v i o l e n t a s a n t i t e s i s e h i p ê r b o l e s m o n s tr u o s a s . . . s o n e t o s r e t r o g r a d e s y con e c o , de r im a encaden ad a y e s d r d j u l a , a c r o s t i c o s y p e n t a c r o s t i c o s , l a b e r i n t o s y e n s a la d .a s .

Luzan c o n ­

demns t h e s e v e r s i f i e r s who, a t t e m p t i n g t o i m i t a t e Gongora, " c o n s i g u i e r o n a v e n t a j a r s e en l o s d e f e c t o s , s i n l l e g a r jamas a i g u a l a r sus a c i e r t o s ." ^

In e f f e c t , t h e r e i s l i t t l e r e l a t i o n s h i p b etw een

G ongora and t h o s e who, a c e n t u r y a f t e r h i s d e a t h , p r e te n d e d t o w r i t e under h is in s p ir a tio n . I f t h e p o e ts of tlie f i r s t h a l f o f t h e e i g h t e e n t h c e n t u r y were

^C ésar Real de l a R iv a , "La e s c u e l a p o e t i c a sal.ainantina d e l s i g l o X V III," B o l e t i n de l a B i b l i o t e c a Menendez y P e la y o , 2h (1 9 ^ 8 ) , p p . 32l)-325. I b i d . , pp. 325-326.

Luzan, op. c i t . , I , p . 32 .

IT t o be g r o u p e d p r o v i s i o n a l l y a c c o r d in g t o t a s t e , t h e f i r s t prorp.ocioii would i n c l u d e t h e s e b e tte r - k n o w n m a n n e r is t p o e t s :

G a b r i e l A lv a r e z d e

Toledo ( 16 2 2 - I 71M , Eugenio G erardo Lobo ( l 6 7 9 - l T 5 0 ) , Diego de T o r r e s V i l l a r r o e l (1693-1770)» A lfonso Verdugo y C a s t i l l a , Conde de T o r r e palma (1 7 0 6 - I 7 6 7 ) , and Jo se A n to n io P o r c e l ( 1 7 2 0 - ? ) , t h e l a s t t h r e e of whom w ere members of th e Academia d e l Buen G u sto .

Of c o n t r a r y

i n s p i r a t i o n a r e t h e more d i s c i p l i n e d p o e t s and c r i t i c s o f t h e n e o C l a s s i c s c h o o l , some of whom— Luzan, M on tia n o , M a s a r r e —were a l s o members o f t h e Academia d e l Buen G u s to , and f o r whom t h e r u l e s o f p o e t r y s h o u l d b e , i n L u za n 's w o rd s, "conform es y a j u s t a d a s a l a r a z o n n a t u r a l , â l a p r u d e n c i a , a l buen g u s t o , y a l p a l a d a r de l o s Y me j o r e s c r i t i c o s . " The re fo rm s p ro p o sed by t h i s g roup were b a s e d , u l t i m a t e l y , on common sen se: A h a c e r r e c o b r a r a e s t e su i m p e r io , c o n t r i b u y e n hombres ta n b c n e m e r i t o s como F e i j o o , M a r t i n e z , S a r m ie n to , e l P. I s l a , l a s i n s t i t u c i o n e s l i t e r a r i a s fu n d a d a s a l modo f r a n c o s , y , sobre t o d o , Luzân con su P o é l i c a / s i c / y l o s r e d a c t o r e s d e l D i a r i o de l o s L ite r a .to s. 8 T h is was a t i m e , s a y s C ueto, of " d o c t r i n a s a n a , p e r o e s t r e c h a , que nos daba en s e n s a t e z y en a t i l d a d o g u s t o c u a n to n os q u i t a b a en r i q u e z a , en h e c h i z o y en l i b e r t a d " ; t h e p o e t r y o f t h e tim e was d o c t r i n a i r e , "desm ayada y g l a c i a l . "

And a l th o u g h M o n tia n o , Don Juan de I r i a r t e ,

and Luzân w r o te w ith c o r r e c t i o n , "no h a c i a n s e n t i r en sus v e rs o s

? I b i d . , I , p . Ii3. ^ R e a l d e l a B iv a , op. c i t . , p . 326. M a r ti n e z : M a rtin M a r tin e z , a u t h o r o f M e d ic in a e s c e p t i c a ( 1 7 )18) ; G arm iento: F r a y M a rtin S arm ien to ( 1699- I 77 I ) » a u t h o r o f D em ostracion c r i t i c o - a p o l g e t i c a d e l T h c a tro c r i t i c o u . n i v e r s a l (1797) and Mem orias p a r a l a h i s t o r i a de l a p o e s i a y p o e t a s e s ja n o J .e s (posthumous, 177 9).

18 una s o l a v i b r a c i o n d e l a l r e a ." ^ Common se n s e , good t a s t e , pru d en ce ,- r e a s o n —t h e s e w ere n o t enough t o c r e a t e p o e t r y o f a h ig h o r d e r ; n o t even a d h e r e n c e t o C l a s s i ­ c a l p recep t su ffic e d .

Luzan and h i s f o l l o w e r s eschewed t h e d e v i c e s o f

t h e m a n n e r is t p o e t s , b u t th e m s e l v e s l a p s e d i n t o d r y n e s s .

Comparing

t h e two p o e t i c t e n d e n c i e s — t h e manera c u l t e r a n a and t h e n e o - C l a s s i c — , R e a l de l a R iva c o n t i n u e s : P ero a q u c l la s e x a g e r a c io n e s y d e s p r o p o s i t o s l l e v a r o n a l a p o e s i a e s p a n o la a l e x tre m e c o n t r a r i o , a l o s v e rS o s y e r t o s y f r î o s dc Luzân, y , s o b r e t o d o , de sus d i s c i p u l o s /Â g u s tin d ^ M ontiano / Ï 697-176^17, ZBlas A n t o n i o / W asarre / I 689- I 75I 7 , N ic o l a s Fernandez de M o r a t i n , c a r e n t e s de emocion y de v i d a , con r e s a b i o s de d i s e r t a c i o n f i l o s o f i c a y de g u s to in d u d a b le m e n te f r a n c e s , que r e p r é s e n t a l a r e a c c i o n c o n t r a l o a n t e r i o r y l a r a a n if e s ta c iô n in m e d ia ta a l a y a a u t ê n t i c a p o e s i a de l a e s c u e l a s a la m a n ti n a .^ 0 K ic o lâ s F ernandez de M o r a t i n , as a d i s c i p l e o f Luzân, i s a l i n k betw een t h e Academia d e l Buen G usto of t h e tim e o f F e r d in a n d VI (1 7 ^ 6 1 7 5 9 ) and t h e T e r t'u lia de l a Fonda de San S e b a s t i a n d u r i n g t h e r e i g n o f C h arles I I I

(1759-1788).

Some o f M o r a t i n 's c o n t e r t u l i a n o s i n M adrid

a r e t h e d r a m a t i s t s I g n a c io Lopez de A yala and G a r c ia de l a H u e r t a , t h e p o e t s Cadalso and Vaca de Guzman, t h e f a b u l i s t s I r i a r t e an d Sam aniego, and s c h o la r s o r a c a d e m ic ia n s such a s Lopez de Sedano and V i c e n t e de l o s R io s. The b e s t p o e t r y o f t h e c e n t u i ’y , how ever, i s n o t w r i t t e n i n M adrid .

The c a p i t a l d i d p r e p a r e t h e t e r r a i n , as i t w e re , d u r i n g t h e

f i r s t h a l f o f th e c e n t u r y t h r o u g h t h e A cadem ies, th r o u g h p r o m u l g a ti o n o f L u z â n 's P o e tic a (which was n o t p r i n t e d in M adrid u n t i l 178 9 ; t h e f i r s t e d i t i o n , of 1737, was p u b l i s h e d i n Z a r a g o z a ), th r o u g h t h e

' C u e t o , op. c i t . , p. C I I .

^^Real de l a R i v a , op. c i t . , p . 326 .

19 D i a r i o d e l o s l i t e r a t o s , and t h e Academia d e l Buen G usto.

But d u r i n g

t h e second h a l f o f t h e c e n t u r y , b e t t e r p o e t r y w i l l be w r i t t e n i n t h e p r o v i n c e s o r i n s p i r e d by p r o v i n c i a l a g g r u p a t i o n s o f p o e t s , c r i t i c s , s c h o l a r s , and h u m a n is ts .

A z o r in , a l r e a d y q u o te d a s h a v in g d is m is s e d

t h e e i g h t e e n t h c e n t u r y e n t i r e l y , noir, c u r i o u s l y enough, e l a b o r a t e s on t h e im p o r ta n c e o f t h e p r o v in c e s d u r i n g t h i s tim e : Hay s i g l o s quo p a r e c e n p r o p i o s de M adrid y lo s hay que sem ejan s i g l o s p r o v i n c i a n o s . No s o l o hemos de a t e n d e r , p o r e s t a c o n s i ­ d e r a t i o n , a l a p o l i t i c a , s i n p con mayor c u id a d o a l a s l e t r a s y a la s d isc ip lin a s filo s o fic a s . Si e l s i g l o XVII h a s i d o t o d a v i a un s i g l o rcarcadem ente c e n t r a l i s t e , en c u a n t o a l a l i t e r a t u r a , e l s i g l o XVIII ponriam os d e c i r que i n i c i a y a una t e n d e n c i a c u r i o s a ; e sa c e n t u r i a , mas que de M a d rid , e s de p r o v i n c i a s . Y p o d riam o s r a z o n a r e s t a t e s i s pensando en l a s c o r r i e n t e s l i t e r a r i a s que se i n i c i a n , con c i e r t a in d e p e n d e n c ia de M ad rid , en B a r c e lo n a , en S e v i l l a , en V a le n c ia . Un hombre, Mayans y S i s c a r , l l e n a c a s i t o d o n u e s t r o s i g l o X V III, y e s e hombre es un v a l e n c i a n o ; t r a b a j a b a , no y a en l a c a p i t a l d e l r e i n o , s i n o en un p u e b lo : O l i v a . iY no vem os, a l e s t a r en S e v i l l a J o v e l l a n o s , J o v e l l a n o s raozo, e l a m b ie n te d i t e r a r i o cue su p r e s e n c i a a v i v a , f o r t i f i c a , con e l c u l t i v o de l a p o e s i a , con e l t r a t o in tim o y c o r d i a l de l o s i n g e n i o s s e v i l l a n o s , a g ru p ad o s en t o r n o de e s t e jo v e n in n o v a d o r? A z o r in makes a s i g n i f i c a n t o m is s io n :

he does n o t m en tio n t h e l i t e r a r y

movement, t h a t " p a r t i c u l a r f e r m e n t , " t h a t b e g a n in t h e u n i v e r s i t y c i t y o f S ala m an ca .

H e r e , t o o , and w i t h c o n s i d e r a b l e in d e p en d en ce fro m Mad­

r i d , a p r o v i n c i a l l i t e r a r y c u r r e n t was r e - a f f i r m e d .

I n S ala m an ca , and

p e r h a p s t o a g r e a t e r d e g r e e t h a n anjudiere e l s e in S p a in , t h e r e o c c u r r e d d u r in g t h e l a s t t h r e e d eca d es o f t h e c e n t u r y t h a t " e f e r v e s c e n c i a l i t e r a r i a , " a s Cueto c a l l e d i t , t h a t c o n s t i t u t e s t h e l i n k b e tw e e n t h e p o e t r y o f t h e Golden Age and R om anticism .

^^'■Azorxii," "El s i g l o X V I I I , " C la s i c o s c e r n i d o s , Obras c o m p l é t a s , Tomo VI (H adi'id: A g u i l a r , 1 9 ^ 8 ) , p p . 10 ^1 - 1 0 5 2 .

CHAPTER I I I

THE OAI#'IAHCAN SCHOOL OF POETRY

Gen e i'a l Chara e t a r i s t i c 5 Manuel J o sé Q u in ta n a b e s t d i s p u t e s F o r n e r ' s sw eeping condem nation o f th e e ig h te e n th c e n tu ry .

Both F o n i e r (175^-1T9T) and Q u in ta n a (1772-

1 8 5 7 ) grew up d u r in g t h e r e i g n o f C h a r le s I I I and b o th s t u d i e d i n Salam anca a t t h e t i m e o f renew ed l i t e r a r y a c t i v i t y t l i e r e .

Of t h e

E n lig h te n m e n t i n S p a in g e n e r a l l y , Q uintana s a y s : Espaha en e l s i g l o XVIII h a empezado â p e n s a r , â a n a l i z a r y â c a l c u l a i ' ; ha t r a t a d o de a d q u i r i r a r t e s u t i l e s y p r o d u c t i v a s , de fom entai’ l a s c i e n c i a s , s i n l a s c u a l e s e s t a s a r t e s no pueden s o s t e n e r s e n i p r o g r e s a r , y de p o n e r s e , en c u a n to l e f u e s e p o s i b l e , a l n i v e l de l a s denias n a c i o n e s en p r o s p e r i d a d y en r i q u e z a . l And o f t h e l a t t e r y e a r s o f t h e r e i g n of C liarles I I I : E r a l a epo ca t a l v e z mas b r i l l a n t e y e s t u d i o s a que hemos t e n i d o desd e e l s i g l o X\''I. Cuando s e echa l a v i s t a â a q u e l d e c e n io que medio d esd e l a p u b l i c a c i o n d e l Beitilo ZÎ78Q7 h a s t a e l aho de 90, asoxnbra e l in c re m e n to quo h a b ia n tornado l a s l u c e s , y e l v i g o r con que b r o t a b a n l a s bu o n as s e m i l l a s e s p a r c i d a s en l o s tiem p o s de F ernando VI y p r i m e r o s a h o s de C a rlo s 111. En e l sinnum ero de e s c r i t o s que c a d a aho se p u b l i c a b a n , on l a s d i s e r t a c i o n e s de l a s a c a d e m i a s , en l a s memoriae de l a s s o c io d a d e s , en l o s e s t a b l e c i m ie n to s c i e n t i f i c o s fu n d ad o s de nuevo, en l o s de b e n e f i c e n c i a quo p o r t o d a s p a r t e s se e r i g i a n y d o ta b a n , en l a s re fo rm a s que ■ se ib a n i n t r o d u c i e n d o en l a s u n i v e r s i d a d c s , en l a s p r o v i d e n c i a s g u b e r n a t i v a s que s a l i a n c o n fo rm e s con l o s buenos p r i n c i p i o s de a d m i n i s t r a c i o n , en e l a s p e c t o d i f e r e n t e que toinaba e l s u e lo

\ l a n u e l J o s é Q u in ta n a , "S obre l a p o e s i a c a s t e l l a n a d e l s i g l o X V IT I," Obras c o m p l è t e s , B.A.E. 19 (M adrid: R i v a d e n e y r a , 1 9 ^ 6 ), p. 157. 20

21 e s p a n o l con l o s c a n a l e s , cam inos y e d i f i c i o s p u b l i é e s que se a b r i a n y l e v a n t a b a n ; en t o d o , fin a ] .r a e n te , s e v e i a una f e r m e n t a c i o n que p r o m c t i a , c o n t i n u a d a , l o s m ayores p r o g r e s o s en l a r i q u e z a y c i v i l i z a c i o n e s p a n o i a .^ P e r h a p s , ho a d d s , t h e r e ware t o o many " g u e r i l l a s l i t e r a r i a s , " in what i s p r o b a b ly an o b li q u e r e f e r e n c e t o F o rn e r and h i s p o le m ic s w i t h I r i a r t e , G a r c i a de l a H u e r ta , and o t h e r s .

In what co u ld be a r e f e r e n c e

t o th e s t a t e of a g r i c u l t u r e , i n c r e a s i n g l y a s u b j e c t o f d e b a t e and r e c r i m i n a t i o n in S pain d u rin g t h e e i g h t e e n t h c e n t u r y , Q u in ta n a s a y s " t a l vez no s e s e g u i a en e l foraento do l o s d i f e r e r i t e s ramos en que e s t a c i f r a d a l a p ro sp e rid a d s o c i a l , "

And w ith r e g a r d t o t h e many p u b l i c

b u i l d i n g s t h a t were c o n s t r u c t e d d u r i n g t h i s t i m e , Q uintan a s u g g e s t s t h a t p e rh a p s more c a r e was g iv e n t o t h e i r o rn a m e n ta tio n t h a n t o t h e i r fo u n d a tio n s. Pern e s t o nada q u i t a d e l honor quo se merece una epoca de t a n t a v i d a , de t a n t o a r d o r , de t a n t a a p l i c a c i o n , y cuyos p r o d u c to s d is f r u t a m o s t o d a v i a a l cabo de t r e i n t a ahos en que hemos e s t a d o g a s ta n d o s in c é s a r , y puede d e c i r s e que s i n r e p o n e r . 3 W hatever t h e f a u l t s o f t h e l a t e e i g h t e e n t h c e n t u r y , as a d m i t t e d by Q u in ta n a i n t h i s p a s s a g e , he c o u ld s t i l l lo o k b a c k t o i t from t h e p e r s p e c t i v e o f t h e 1 8 2 0 ’ s w ith a c e r t a i n w i s t f u l n e s s . Of Salam anca i n p a r t i c u l a r , Q u in ta n a g iv e s t h e f o l l o w i n g p i c t u r e o f i n t e l l e c t u a l l i f e i n t h e u n i v e r s i t y c i t y i n t h e e a r l y IT T O 's; Ihipezaba ya â f o r m a r s e a q u e l l a e s c u e l a de l i t e r a t u r e , de f i l o s o f i a y de buen g u s t o que d o s a rru g o de p r o n t o e l echo d e s a b r i d o y g o t i c o de l o s e s t u d i o s e s c o l a s t i c o s , y a b r i 6 l a p u er t a 6. l a l u z que b r i l l a b a â l a sazon en t o d a Eiu’opa. La a p l i c a c i o n a l a s le n g u a s s a b i a s , a s i a n t i g u a s como m od ernas; e l a d e l a n t a m ien to en l a s m atern aticas y v e r d a d e r a f i s i c a ; e l c o n o c im ie n to y 2

Q u in ta n a , " N o t i c i a h i s t o r i e n y l i t e r a r i a de M ele n d e z ," B.A.E. 19, pp. 113-114. -■^Ibid. , p . l i n . ■

22 g u s to â l a s d o c t r i n a s p o l i t i c a s y dénias buenas b a s e s de una y o t r a j u r i s p r u d e n c d a ; e l u s e de l o s g ra n d e s m o d è les de l a a n t i g ü e d a d , y l a o b s e r v a c i o n de l a n a t u r a l e z a p a r a to d a s l a s a r t e s de im a g in a c io n ; l o s buenos l i b r e s que s a l i a n en t o d a s p a r t e s , y que iban â Salam anca como â un c e n t r o de a p l i c a c i o n y de s a b e r; en f i n , e l e j e r c i c i o de una r a z o n f u e r t e y v i g o r o s a , in d e p e n d ie n t e de l o s c a p r i c h o s y t r a d i c i o n e s a b u s iv a s de l a a u t o r i d a d , y de l a s red.es c a p r i c h o s a s de l a s o f i s t e r i a y c l i a r l a t a n i s m o : to d o e s t o se d e b i o â a q u e l l a e s c u e l a , que h a p r o d u c id o d esd e enfonces h a s t a a h o r a t a n d i s t i n g u i d o s j u r i s c o n s u l t o s , f i l ô s o f o s y h u m a n is ta s .^ Some o f t h e m ost famous men o f t h e centui'y a s s o c i a t e d th e m s e l v e s , d i r e c t l y or i n d i r e c t l y , w i t h th e l i t e r a r y l i f e of S alam anca.

Cadalso

s p e n t a b r i e f and happy e z i l e from Madrid i n S alam anca; h i s d e a t h , mourned th r o u g h o u t t h e c o u n t r y , v a s nowhere more la m e n te d t h a n i n t h i s c ity .

J o v e l l a n o s c o r r e s p o n d e d w i t h t h e Saliunancan p o e t s and came t o

e x e r c i s e e x t r a o r d i n a r y i n f l u e n c e upon them , b e in g i n t u r n i n f l u e n c e d by them.

And fro m t h e U n i v e r s i t y i t s e l f , M elend ez, F o r n e r , and C ien-

f u e g o s went on t o occupy im p o r ta n t p o l i t i c a l p o s i t i o n s , recojiimended more by t h e i r l i t e r a r y fame th a n by t h e i r p o l i t i c a l e x p e r i e n c e . The a tm o s p h e re i n Salam anca d u rin g t h e s e v e n t i e s an d e i g h t i e s h a s been d e s c r i b e d a s b o th "inuy a n t ig u o y muy m oderno": . . . a n t i g u o , p o r e l g u s t o y en tu sia sm o con que s e c u l t i v a b a n l a s h u ra a n id a d e s , por l a am orosa a f i c i o n con que s e l e î a n y g u s ta b a n l o s c l a s i c o s ; m oderno, por l a noble y e n c e n d id a c u r i o s i dad y p o r l a a m p lit u d de e s p i r i t u con que se r e c i b i a n y aco g ia n l a s nuevas i d e a s que v e n ia n de f u e r a . 5 Among t h e a n c i e n t s , A n a c re o n , V i r g i l , and Horace w ere most adtriired by t h e Kalamancan p o e t s ; G a r c i l a s o , V i l l e g a s , and F ra y L u is de Leon were t h e S p a n is h m odels f o r s t y l e and s u b j e c t m a t t e r .

T h at con tem p orary

f o r e i g n a u t h o r s w ere r e a d i s o b v io u s f r o m . t h e c o r r e s p o n d e n c e o f the

' i b i d . , p . 110. 5

E m ilio A l a r c o s , "C ie n fu e g o s en S ala m an ca ," B o l e t i n de l a Real Academia Z s p a h o la , l 8 ( 1 9 3 1 ) , p . 728.

23 Salamancan p o e t s , b u t f o r e i g n in f l u e n c e s a r e n o t s i g n i f i c a n t .

In

any c a s e , by t h e end o f t h e c e n t u r y , c u r i o s i t y a n d open-minded r e ­ c e p t i o n of f o r e i g n books w i l l g iv e way, i n t h e a f t e r m a t h o f t h e F ren ch R ev o lu tio n , t o o f f i c i a l p r o h ib itio n .

On such a n o t e w i l l en d , i n

Q u i n t a n a 's p h r a s e , t h e "q u in c e ahos d e in t e r m e d i o " t h a t Salamanca en jo y e d u n d er C h a r l e s I I I . I h e Salam ancan p o e t s , and th o s e i n t i m a t e l y a s s o c i a t e d w ith them , a r e c u s t o m a r i l y d i v i d e d i n t o two groups : R eig n o f C h a r l e s I I I (1759-1788) F ra y D iego Tadeo G onzalez (P e l i o ) J o s e C a d a lso (P a l m i r o ) C aspar M elch o r de J o v e l l a n o s (J o v in o ) J o s e I g l e s i a s de l a Casa (A rcadio ) P . Juan F e r n a n d e z de R o ja s (IJ Pj-‘n_o) P . A ndrês d e l C o r r a l (A n d r e n io )(Â ncironio) P . M iguel de M iras (M ireo~) J u a n P a b lo F o r n e r (A m inta) J u a n M elendez V ald es (B a t i l o )

1732-179^ 17^41-1782 17^4-lB lO 17^48-1791 1750-1819 d i e d l 8l 8 d i e d l8 0 0 175^-1797 175^4-1817

R e ig n o f C h a r l e s IV (1788- I 8 O8 ) and l a t e r Tomas G o n z a le z C a r v a j a l H ic a s i o A lv a r e z de C ie n fu eg o s F r a n c i s c o Sanchez B arb ero J o s é Manuel Q u in ta n a J u a n H i c a s i o G a lle g o J o s é Somoza

175^-183^ I 76Î4- I 809 1 7 6 ij- l8 l9 1772-1857 1777-1853 I 78I - I 852

Our c o n c e rn i s m a in ly w ith t h e p o e ts o f t h e tim e o f C h a r le s I I I . a l l o f t h e s e p o e t s r e s i d e d in Salamanca.

Hot

M iguel de M ir a s , f o r ex am p le,

form ed p a r t o f t h e S e v i l l a n t e i - t u l i a o f Don P a b lo de r e s p o n s i b l e f o r i n t r o d u c i n g t h e p o e try of F ra y

O lav id e and was

D iego Gonzalez t o t h e

S e v i l l a n s ; i t w%s he who i n s t i g a t e d t h e c o r re s p o n d e n c e between F ray D iego and J o v e l l a n o s .

J o v e l l a n o s h im se lf became i n f l u e n t i a l among

th e S a la m a n c a n s , b u t from S e v i l l e and M adrid.

G onzalez C a r v a j a l , an­

o th e r S e v i l l a n , i s numbered among the Salamancan p o e t s b e c a u se o f h i s

2k s u b j e c t m a t t e r and c h o i c e o f p o e t i c m o d e ls. T h ere i s d is a g r e e m e n t among com m entators on t h e e i g h t e e n t h c e n t u r y on t h e s u b j e c t of v h e tlie r o r n o t t h e Salam ancan p o e t s con ­ s t i t u t e a " s c h o o l" i n t h e d o c t r i n a i r e s e n s e , a s i n t h e tim e o f Luzan. Cueto s,t one p o i n t r e j e c t s t h e n o t i o n o f a Salamancan s c h o o l o f p o e t r y on t h e b a s i s o f t h e d i v e r s i t y o f t h e Salamancan p o e t s :

"P o r f o r t u n a

de l a s l e t r a s de S ala m an ca , s o b r e s a l i e r o n en a q u e l l a e r a b r i l l a n t e p o e t a s cuya d i v e r s e i n d o l e a l e j a l a i d e a de u n if o r m id a d y de senda t r i l l a d a que d e s p i e r t a l a p a l a b r a e s c u e l a . " ^

C r i t i c s t o d a y , how ever,

u s e t h e te rm e s c u e l a s a l a m a n t i n a , a s d i d Q u in ta n a and Menendez y P e la y o . In any c a s e , Cueto a t t e s t s t o t h e f a c t t h a t , s c h o o l o r n o t , t h e r e was a d e f i n i t e r e s u r g e n c e o f g e n u in e p o e t r y i n Salam anca i n t h e l a t e e i g h t ­ e e n th c e n t u r y . A q u e ll a e f e r v e s c e n c i a l i t e r a r i a e r a c o n s e c u e n c ia n a t u r a l de l o s a d e l a n t o s q u o , aunque l e n t a m e n t e , ib a h a c ie n d o Espaha desde e l a d v e n im ie n to de l a c a s a de Borbon, como ta m b ien de l o s elem en to s a c t i v e s que e l nuevo e s t a d o de Europa t r a i a s i n t r e g u a â l a c i v i l i z a c i o n e s p a n o l a . Ai’t e s , c i e n c i a s , i n d u s t r i a , e s p i r i t u de i n v e s t i g a c i o n y de examen, c r ï t i c a , i n s t i t u t e s l i t e r a i ’i o s , to d o i b a cob ran do v i d a , y C a d a ls o e n c o n tr o ya l o s germ enes de l a nueva c u l t u r a p o ê t i c a , a s i en l o s c l a u s t r e s como en l a s e s c u e l a s de Salam anca. Mas a d e l a n t e c r e c i ô e l im p u ls o , y t a n t o a l l i como en o t r a s p a r t e s l l e g a r o n a fo rm a rs e c e n t r e s de l u z y a c t i v i d a d p o e t i c a . P ero â S alam an ca, r e c o b r a n d o s e a c e le r a d a m e n te de su d i l a t a d a p o s t r a c i o n , cupo e n to n c e s l a g l o r i a de a d c l a n t a r s e â l a s demas c i u d a d e s , y fo rm a r en s u sen o un fo co de p o e s i a mâs p u r o , mas e x t e n s o y mas t r a s c e n d e n t a l . ? Hot o n ly was Salam anca t h e f i r s t t o r e c o v e r from i t s p r o s t r a t i o n ; i t s i n f l u e n c e e x te n d e d t o S e v i l l e , w h ere, as we s h a l l s e e , J o v e l l a n o s was i n s p i r e d t o w r i t e v e r s e s d u r i n g h i s moments o f l e i s u r e .

I n d e e d , two

F ren ch l i t e r a r y h i s t o r i a n s a s c r i b e th e p o e t i c r e v i v a l i n S e v i l l e t o

^Cueto, op. cit., p. CVIII.

^Ibid., p. CVII.

25 " c e t t e E c o l e de Salamanque d o n t l e rayonnem ent f u t t e l q u ' e l l e s u s c i t a à S e v i l l e même l ' a d m i r a b l e r e n a i s s a n c e l i t t é r a i r e de l a f i n du X V III^ siè c le ."^

Hui’ta.do and G o n z a l e z - P a l e n c i a a r e o f t h e same o p i n i o n :

La e s c u e l a s a ] a m a n t i n a , que t a n m o d e stes p r i n c i p i o s t u v o , p r o d u jo c a s i l o s û n ic o s p o e t a s d ig n o s d e t a l nombre en a q u e l l a g e n e r a c i o n , ya que a e l l a se d e b i o tam biên e l p rim e r im p u ls e do r e s t a u r a c i o n l i t e r a r i a de S e v i l l a . 9 T h e r e vas no p r c o e p t i s t among t h e Salamancan p o e t s a s t h e r e ]iad b een among t h e n e o - C l a s s i c p o e t s o f L u z a n 's tim e .

In t h e e a r l y

s e v e n t i e s , C ad also e x e r c i s e d a t h e m a t i c i n f l u e n c e tlrro u g h h i s Academia c a d a l s i c a ; a f t e r 1776, J o v e l l a n o s became t h e mayor a], o f t h e S alam ancan g ro u p .

But t h e r e was no s e t o f r i g i d p o e t i c p r i n c i p l e s t o w hich t h i s

g ro u p owed a l l e g i a n c e .

Cueto a s k s of t h e S ala m an ca n s, "iEn que se

a s e m e ja n e l can d o ro so f r a y D iego G o nzalez y e l s a r c a s t i c o F o r n e r , e l d c l i c a d o M elendez y e l e p i g r a m a t ic o I g l e s i a s ? "^^ Yet t h e r e a r e s i m i l a r i ­ t i e s b e tw e e n t h e v a r i o u s p o e t s .

T h e ir th e m e s , p a r t i c u l a r l y u n d e r t h e

i n f l u e n c e o f C a d a ls o , were "de r i s a . . . g u s t o s y a m o r e s ."

T h e i r m odels

w ere S ap pho , A n acreo n, and t h e p a s t o r a l p o e t s o f G reece and Rome, a s w e l l as t h e A n a c r e o n tic p o e t s o f th e S p a n is h s i x t e e n t h c e n t u r y , i n p a r tic u la r V ille g a s.

F o r n e r , s p e a k in g th ro u g h V i l l e g a s , g i v e s i n h i s

E x e q u ia s de l a le n g u a c a s t e l l a n a (lo n g u n p u b l i s h e d and t h e r e f o r e n o t v a l i d e x c e p t in r e t r o s p e c t ) what c o u ld be ta k e n a s a p o e t i c c r e d o f o r t h e Salam ancan gro u p : ...

j u n t a d v u e s t r a s f u e r z a s , y s o b re p o n ie n d o o s a l a s b a c h i l l e r î a s

8R o b e r t L a r r i e u and Romain Thomas, H i s t o i r e i l u s t r e de l a l i t t é r a t u r e e s p a g n o le ; p r e c i s m é th o d iq u e ( P a r i s :

D i d i e r , 1952)» P- 2 6 7 .

^Hui-tado and G o n z a le z - P a le n c ia , op. c i t . , p . 738. ^ ^ C u e t o , op. c i t . , p. C V II I.

26

de l a t u r b a con o b r a s y e s c r i t o s que llam en a s i l a a t e n c i o n d e l p u b l i c o , m a n i f e s t a i p r â c t i c a m e n t e l a d i f e r e n c i a que hay e n t r e l o s que sab en b i e n e l uso de su le n g u a y l o s que corrorapen e s t e u s o . l a i r n i t a c i o n , o por rcejor d e c i r , e l e s t u d i o de l a s o b r a s e s p a n o la s de l e s s i g l o s p a s a d o s , debe s e r v u e s t r o n o r t e p a r a a r r i b a r a l colmo d e e s t a em presa. Mas no s e a s e r v i l e s t a i r n i t a c i o n , no s e a niocanica n i de p u ra c o p i a . E s t u d i a d l a s f r a s e s de l a le n g u a , no l a s de l o s a u t o r e n . Buscad en e l l o s l a a b u n d a n c i a y l a p r o p i e d a d , no e l g i r o o s e m b la n te que d io c a d a e s c r i t o r a su e s c r i t o . El v u e s t r o , corno e l de t o d o s , debe a j u s t a r s e a v u e s tr o g e n io o in d o le . In t h i s p a s s a g e , F o r n e r a l lo w s f o r i n d i v i d u a l d i f f e r e n c e s o f s t y l e , a s in d e e d t h e r e w ere among t h e Salamancan p o e t s , w h ile a d v o c a tin g a d ­ h e re n c e t o t h e g e n e r a l p r i n c i p l e o f good S p a n is h u s a g e and t u r n o f phrase.

T h ro u g h o u t h i s l i f e , F o rn er d e f e n d e d t h e n o b i l i t y of th e

S p a n ish la n g u a g e ; h i s E x e q u ia s i s an example o f a s t y l e t h a t i s a t once e l e v a t e d , d i r e c t , s a t i r i c a l , and p i q u a n t .

I g le s i a s , a ls o , in

C u e t o 's ju d g m en t, sp e a k s " l a le n g u a p u ra y g e n u in a d e l p u e b lo de C a stilla .

D i c c i o n , l e n g u a j e , raodismos, s a b o r p e c u l i a r , forma d e l

p e n s a m ie n to , to d o es e x c l u s ivaiaente c a s t e l l a n o " ; o n ly w ith F ra y D iego G onzalez can I g l e s i a s s h a r e " l a g l o r i a de h a b e r s i d o , en l a e r a de C a rlo s I I I , v e r d a d e r o r e p r é s e n t a n t e de l a t r a d i c i o n f i e l d e l h a b l a c a s te lla n a ."

12

Salamanca a s a u n i v e r s i t y c i t y was p e c u l i a r l y s u i t e d t o f o s t e r t h e C a s t i l i a n t r a d i t i o n i n langu ag e and p o e t r y among th e p o e t s o f t h e l a t e eig h teen th ce n tu ry .

R e a l de l a R iva p o i n t s o u t t h a t a c o n s t a n t

p o e t i c t r a d i t i o n had e x i s t e d in Salamanca f o r c e n t u r i e s a l r e a d y , g o in g b ack t o t h e e c l o g u e s o f Juan d e l Encina., Lucas F e r n a n d e z , and F ray L u is

11 Ju an P a b lo F o r n e r , E xequias de l a le n g u a c a s t e l l a n a , E d ic io n y n o t a s de P edro S a in s y R o d r ig u e z , " C la s ic o s c a s t e l l a n o s ," 66 (M adrid: E d ic io n e s de "La L e c t u r a , " 1 9 2 5 ), pp. 1 3 ^ -1 3 5 . ^'^Cueto, op. c i t . , p . CXVIII.

27 de Leon. De a,bolengo clarfn o e n te u n i v e r s i t a r i o o f r e c e e s t a p o e s ia c a r a c t e r i s t i c a s hondas y d n r a d e r a s : un buen g u s t o p a r a l a e l e c c i o n de m o d ù lo s, una i n t e n s a p re o c u p a c io n p o r l a p u r e z a , d ig n id a d y e x a c t i t u d d e l l e n g u a j e , un a c e r t a d o s e n t i d o de l a p ro p o r c io n y d e l e q u i l i b r i o e n t r e e l fonde y l a fo rm a, e l p en sam ien to y l a s e n s i b i lndo,d, una m arcada a f i c i o n p o r l o s tem as b u c o l i c o s y c a m p e s t r e s . F ro v ie n e n e s t a s c u a l i d a d e s , p r i n c i p a l m e n t e , d e l în tim o c o n t a c t e que a trav c is de l a U n iv e r s id a d se in a n ten ia con l a s l i t e r a t u r a s g r i e g a y l a t i n a y con l a bu en a t r a d i c n o n p a t r i a , y ta m b ién de o t r a s c i r c u n s t a n c i a s mas v a g a s e i m p r e c i s a s , que pudiërainos r e f e r i r a l raedio en que naco e s t a p o e s i a , a d e te rm in a d a s c o n d ic io n e s de am­ b i a n t e , no s 6 ].o c s p i r i t u a l , s i n o tam bien f i s i c o y n a t u r a l . -*-3 TJiey p h y s i c a l am b ian te o f Salamanca i s e v i d e n t i n t h e f r e q u e n t , th o u g h i m p r e c i s e , r e f e r e n c e s by t h e Salam ancan p o e t s t o t h e R iv e r form es and t h e V al de O te a ; t h e s e l o c a l nam es, h o u e v e r , a p p ly more t o an im agined A rcad ia n g e o g rap h y t h a n t o th e a c t u a l Salamancan c o u n t r y s i d e .

More

p r e c i s e r e f e r e n c e s t o t h e am b ien te can b e fo u n d i n t h e co rre sp o n d e n c e th a n i n t h e p o e t r y .

F r a y Diego r e f e r s , f o r exam ple, t o La F l e c h a , a

n earb y h a m l e t , and t o t h e g r a n j a , a farm c l o s e by w hich was owned by t h e A u g u s t i n i a n s and w hich had b een a f a v o r i t e r e t r e a t o f F ray L uis de Leon. F r a y D iego G o n z a le z , an A u g u s t i n i a n l i k e F ra y L u i s , and i n whom t h e i n f l u e n c e o f F ra y L u is i s most e v i d e n t , i s c o n s id e r e d by some h i s t o r i a n s as t h e f o u n d e r o f t h e Salamancan s c h o o l , a lth o u g h t h e r e i s no g e n e r a l ag ree m en t on t h i s s u b j e c t e i t h e r .

Q u in ta n a , f o r exam ple,

speaks o f " a q u e l l a e s c u e l a , fu n d ad a p or C a d a ls o y t a n i l u s t r a d a por M e l e n d e z . C u e t o c o n s i d e r s t h a t C ad also r e s i d e d i n Salamanca due only t o t h e m o b i l i t y o f h i s m i l i t a r y l i f e : 13

R e a l de l a R i v a , op. c i t . , p p . 3 2 7-3 23 .

Ik Q u in ta n a , "Sobre l a p o e s i a c a s t e l l a n a d e l s i g l o X V III'" p . 156.

28 /C a d a ls o ? a l e n t o en g r a n m anera . . . con s u en tusiasm o y con su ejeiiip lo , e l c u l t i v o de l a p o e s i a en a q u e l l a ciudad e s c l a r e c i d a ; p e r o no f u e , n i pudo s e r , e l i n i e i a d o r e x c lu s iv e de l a e f e r v e s c e n c i a i n t e l e c t u a l , t a n g l o r i o s a . como a f o r t u n a d a , que l l e g o a d eco r a r s e con e l nombre un t a n t o poraposo de e s c u e l a s a l a m a n t i n a .^ ^ H urtado and G o n z a le a - P a le n c ia a c c e p t th e terra escucd.a s a l a m a n t i n a an d say o f i t : Con raas o raenos p r o p i e d a d , a s i v i e n e llaraandosc e l raoviraiento i n i c i a d o on S ala m an ca , d u r a n t e e l u ltim o t e r c i o d e l s i g l o X V III, p o r e l a g u s t i n o f r a y Diego G onzalez p a r a r e s t a u r a i ’ l a p o e s i a l i r i c a e s p a n o l a , toraando como modelo a f r a y Luis de Leon . . . Jamas s e l e o c u r r i o que l o s en say os p o e t i c o s en que t r a t a b a de irai t a r a f r a y L uis s e l o y e r an f u e r a d e l c i r c u l o de sus am ig o s, n i mucho raenos l e p aso por l a s raie n t es s e r j e f e o fu n d a d o r de uiia e s c u e l a l i t e ­ r a r i a , y , no o b s t a n t e , l o g r o l a s dos c o s a s , sin p e n s a r l o y aun sin s a b e rlo ...^ " A cco rd in g t o H u rtad o and G o n z a l e z - P a l e n c i a , Cadalso " i n g r e s o on l a A r c a d ia con e l nombre de D a lm iro " ; h e i s t h e r e f o r e m i s t a k e n l y c o n s i d e r e d a s fo u n d e r o f t h e S alam ancan s c h o o l. F i n a l l y , R e a l de l a R iv a t a k e s e x c e p tio n t o t h e a f f i r m a t i o n of e a r l i e r h i s t o r i a n s t h a t F r a y D iego was t h e fo u n d er o f t h e Salam ancan s c h o o l o f p o e t r y a n d d i s m i s s e s such a s ta t e m e n t as " g r a t u i t a y ademas t o t a l r a e n t e e r r o n e a " ; i n h i s v ie w , t h e honor belongs w i t h o u t a doubt t o C ad also ; E l c a r a c t e r e r o t i c o y s e n s u a l de l a p o e s i a h u c o l i c a s a l a m a n t i n a ; e l n a t u r a l apocado e i n d o l e n t e de f r a y D iego G onzalez; 3.a f a l t a de r e f e r e n c i a s a e l en l o s v e r s o s y l a s c a r t a s d e C a d a ls o , y , en carabio l a s a l u s i o n e s de D e lio a D alm iro dandole l.a p r i m a c i a p o e t i c a y s e h a la n d o le como m a e s tr o de M elendez, p o r ejcraplo en su é g lo g a L i a n t o de D e l i o , a s i como d i v e r s a s r e f e r e n c i a s a l t e r a de o t r o s p o e t a s s a l / a / m a n t i n o / s / , ' c o n firm a l a t o t a l e q u iv o c a c io n de l a a trib u ic io n in d ic a d a .^ "

^■5Cueto, op. c i t . , p . CVII. ^■^^Hurtado and G o n z a l e z - P a l e n c i a , op. c i t . , pp.

737-738.

^ ^ I b i d . , p . 738. ^'^Real de l a R i v a , op. c i t . , p . 3*t6 and n o te f ÿ .

29 The f o r m a t i o n o f t h e Salamancan s c h o o l , a s s k e tc h e d by Real de l a R iv a i s a s f o l l o w s .

C adalso a r r i v e d i n Saiam anca i n 1771; he q u i c k l y

made f r i e n d s among t h e l i t e r a r y men o f t h e U n i v e r s i t y and fo rm ed , w i t h I g l e s i a s de l a C asa and M elendez, t h e Academia c a d a l s i c a , a s th e y them­ se lv e s c a lle d i t .

F o rn er, a ls o a s tu d e n t a t th e U n iv e r s ity , p ro b a b ly

j o i n e d t h e g ro u p somewhat l a t e r .

F ra y D iego G onzalez and F ray J u a n

F e rn a n d e z de R o ja s had been a t t e n d i n g u n i v e r s i t y l e c t u r e s s i n c e t h e te rm o f 1768 and I 7 6 9 ; when t h e y j o i n e d t h e o t h e r p o e t s i s u n c e r t a i n — p e r h a p s d u r i n g t h e l a t t e r p a r t o f C a d a l s o 's s t a y i n Salam anca, p e r h a p s a s l a t e a s 177 ^, a f t e r C a d a l s o 's d e p a r t u r e .

In any c a s e , a f t e r 177^

t h e p o e t s met i n t h e A u g u s tin ia n m o n a s t e r y . Los p o e t a s s a la m a n tin o s c o n tin u a i! sus r e u n i o n e s l i t e r a r i a s , y ].o u n ic o que cambia es e l l u g a r donde se c e l e b r a n y l a p e r s o n a que l a s p r e s i d e , o , m ejor d ic h o , que l a s an im a. En una c e ld a d e l c o n v e n t o de San A g u s t i n , b a j o l a am able d i r c c c i o n de f r a y Diego G o n z a le z , es donde se congregan a h o r a , a p a r t i r s o b r e to d o d e l mes de j u n i o de 1775 en que e s t e f u e e l e g i d o p r i o r . ^9 N e i t h e r t h e Academia c a d a l s i c a n o r t h e A r c a d ia s a la m a n tin a c o n c e rn e d i t s e l f w ith s e r i o u s or h i s t o r i c a l s u b j e c t s ; under t h e i n ­ f l u e n c e o f C a d a ls o in th e e a r l y s e v e n t i e s , t h e Salamancans sang o n l y o f lo v e a n d p l e a s u r e .

Even F ray D iego G o n z a le z , who, as an A u g u s t in ia n

an d a f o l l o w e r o f F ra y Luis de Leon, m ig h t have b een e x p e c te d t o w r i t e e x c l u s i v e l y on l o f t y s u b j e c t s , w r o te am ato ry v e r s e i n t h e p a s t o r a l v ein .

F ra y D i e g o 's p a s t o r a l v e r s e , l i k e t h a t o f t h e o t h e r s , i s y o u t h ­

f u l and c o q u e t t i s h ; . . . no es como e l de G a r c i l a s o o de f r a y L u i s , r e t i r o de s o l e d a d y p a s i o n donde mâs honda y d e f i n i t i v a r a e n t e suenan en e l alma l o s mementos i n f i n i t e s , s in o d e l i c i o s o campo de ensuerios j u v e n i l e s i n t r a s c e n d e n t e s que l l e n a n de d u l c e y v o lu p t u o s o p l a c e r lo s a n im e s .

^^I b i d . , pp. 3^5-346, 353.

^^ Ib id . , p. 358.

30 I t i s s t r a n g e t h a t t h e s e p o e t s o f t h e l a t e e i g h t e e n t h c e n t u r y , who r e a c t e d a g a i n s t t h e c o n c e i t s and c o n v o l u tio n s o f t h e g o n g o r i s t i c s t y l e sh o u ld i n t h e end come t o h e a r a c e r t a i n r e s e m b l a n c e , i n a n o t h e r way, t o Gongora h i m s e l f .

-In a d i s c u s s i o n o f Baroque p o e t r y , s p e c i f i c a l l y

o f G o n g o ra's t r e a t m e n t o f r e a l u t y , Guil.lermo D f a s - P l a j a w r i t e s : Im pele Gongora a l u s o , y aun a l a b u s o , de l a m e t a f o r a , l a misma v o lu n ta d de a r i s t o c r a c i a que l e movia a s e l e c c i o n a r su l e x i c o ; una n e c e s i d a d de c v a d i r s e de l o c o t i d i a n o y d e c r e a r , con e s t e raismo l e x i e o r o s t r i n g i d o , un mundo r e s t r i n g i d o ta m b ie n . S i , como q u ie r e O rte g a y G a s s e t , p o e s i a es " e l u d i r e], nombre c o t i d i a n o de l a s c o s a s , " Gongora se a p l i c a prim orosaraente a s u s t i t u i r l o s e lem en to s d e l mundo r e a l p o r o t r o s , mas a f i n e s a l p o e t a , que t i e n e n con e l l o s un p u n to d e c o n t a c t o . G ongora no se e l e v a s o b r e l a r e a l i d a d como l o s m i s t i c o s , s in o que m agicaraente l a d i s f r a z a , ^ ^ On a l e s s e l e v a t e d p l a n e , much t h e same can be s a i d o f t h e Salamancan p o ets.

They, t o o , a r e im p e lle d by a v o lu n t a d de a r i s t o c r a c i a t o r i s e

above " l a s b a c h i l l e r i a s de l a t u r b a " by means of t h e i r works and t h e i r j u d i c i o u s u s e o f t h e la n g u a g e .

They a r e im p e lle d a l s o by a v o l u n t a d de

i n o c e n c i a , by a d e s i r e t o r e t u r n p o e t i c a l l y t o a n A r c a d ia n w orld o f innocent p le a s u r e s .

T h is p o e t i c ev asio n o f c o n te m p o r a ry l i f e n e c e s s i ­

t a t e s a p a r a l l e l e v a s i o n o f ev ery d a y s p e e c h , oven t o t h e e x t e n t o f assum ing p a s t o r a l nam es. t o which t h e p o e t s e s c a p e .

Tlie r e s u l t i s a r e s t r i c t e d p a s t o r a l w orld T heir p o in t o f c o n ta c t w ith r e a l i t y i s

t h e i r p r a c t i c e o f a s s i g n i n g r e a l g e o g r a p h i c a l names t o an im ag in ed la n d o f niuiiphs and s h e p h e r d s .

T h is i s n o t to say t h a t t h e w o rld beyond th e

Salamancan A r c a d ia d o e s n o t i n t r u d e i n t o t h e l i v e s o f t h e p o e t s o r i n t o t h e i r p o e t r y ; tho u g h t h e s e p o e t s f l e d th e w orld t h r o u g h t h e i r v e r s e s , th e y were n o n e t h e l e s s men o f t h e i r ti m e s . ' C a d a ls o d i e d a t t h e b a t t l e 22

G u ille rm o D i a z - P l a j a , H i s t o r i a de l a p o e s i a l i r i c a e s p a n o l a , Segunda e d i c i o n c o r r e g i d a y aum entada (B a r c e lo n a : E d i t o r i a l L a b o r, 19^8 ) , p. 179.

31 of G i b r a l t a r i n 1 7 8 2 ; J o v e l l a n o s f i l l e d some o f t h e most i m p o r ta n t p o l i t i c a l p o s t s i n t h e kingdom and endured e x i l e more t h a n once f o r h i s b e l i e f s ; F ra y D iego a t t a i n e d t o h ig h p o s i t i o n w i t h i n h i s o r d e r ; Melendez became a m a g i s t r a t e i n M adrid and F o r n e r a f j s e a l i n S e v i l l e . Yet a t some p o i n t i n t h e i r l i t e r a r y c a r e e r s , a l l gave th e m s e lv e s w i l l i n g l y t o t h e f i c t i o n o f an A rc a d ia n i d y l . J o v e l l a n o s was t h e f i r s t t o fo rs w e a r t h e d i s g u i s e .

In h is

e p i s t l e of 1776, J o v i n o a s u s am igos de S alam an ca, he e x h o r t s D e l i o , B a t i l o , and L ise n o t o a b j u r e e r o t i c p o e t r y and t o d e d i c a t e th e m s e lv e s t o w orthy s u b j e c t s .

J o v e l l a n o s s u g g e s ts t o each o f them a f i t t i n g

t o p i c and i n s u b s e q u e n t c o r r e s p o n d e n c e s even p r e s c r i b e s books t h a t w i l l p r e p a r e them f o r t h e i r t a s k s .

How f a r J o v e ll a n o s m isju d g e d t h e t a l e n t s

of h i s Salam ancan f r i e n d s may b e s e e n from t h e l e t t e r s t h a t p a s s e d betw een Salamanca and M ad rid , a s b o th Melendez and F ra y D iego s t r u g g l e d to a d ap t t h e i r t a l e n t s to a l i e n s u b je c ts .

H ere to fo re , th e p o e ts of th e

P arn aso s a l a m a n t i n o , a s F ra y D iego c a l l e d th e g ro u p , a l t h o u g h c o n ­ f i n e d w i t h i n t h e l i m i t s o f t h e p a s t o r a l mode, were w ith o u t r i g i d p re c e p t. And w ith o u t t h e i m p o s i t i o n o f r u l e s or a s e t system o f a e s t h e t i c s t h e y d i s c u s s e d t h e i r own or o t h e r c o m p o s itio n s , d i s c o u r s e d on g e n e r a l l i t e r a r y s u b j e c t s , and im p arted f r i e n d l y encouragem ent and c r i t i c i s m . P erh ap s i t i s t o th e absence o f such r e s t r i c t i v e i n f l u e n c e s as go verned t h e Academia d e l Buen G u sto , t o an a t ­ m osphere which f a v o u re d i n d i v i d u a l ex pansion r a t h e r t h a n a s t r a i n e d i m i t a t i o n of m o d e ls , t h a t some o f t h e b e s t p o e t r y i s d u e . J o v e l l a n o s , who, th o u g h , m ainly r e s i d e n t i n M ad rid , was r e g a r d e d by h i s Salamancan f r i e n d s as t h e i r h i g h e s t a u t h o r i t y , m ight have e x e r c i s e d a r e s t r a i n i n g in f l u e n c e upon them had th e y been f o o l i s h enough t o a c c e p t h i s cramping g u id a n ce b l i n d l y . Be i t c r e d i t e d t o t h e i r good s e n s e t h a t , w h ile ackn ow led ging r e s p e c t f u l l y t h e a m ia b le a d v i c e he bestow ed on them from tim e t o t i m e , even w h i l e p r o d u c in g odd c o m p o sitio n s i n a c c o r d a n c e w ith h i s d i c t a t e s , th e y p r e s e r v e d o th e r w is e , u n c o n s c io u s l y no

32 d o u b t, a f i r m in d e p e n d e n c e , so t h a t whei'e t r u e p o e t i c t a l e n t e x i s t e d among them, i t found a f r e e o u t l e t . The o u t l e t f o r t h e p o e t i c t a l e n t s o f t h e Salamancans c o n t i n u e d t o b e , i n t h e m a in , l i g h t a m a to ry v e r s e i n t h e p a s t o r a l t r a d i t i o n .

Love

h e r e was n o t a f a t a l , consuming p a s s i o n —d e s p i t e th e s h e p h e r d s ’ con­ v e n t i o n a l r e m o n s t r a n c e s t o t h e c o n t r a i 'y — , b u t r a t h e r a game t o be in d u lg e d i n h a r m l e s s l y a n d , in F ra y D i e g o 's c a s e , p l a t o n i c a l l y . N a t u r e , a s t h e Salam ancans saw i t , was a l s o i d e a l i z e d , p o r ­ t r a y e d i n i t s f a i r e s t f o r m s —r i s u e h o , a p a c i b l e , ameno.

A rc a d ia n nymphs

and s h e p h e r d s , r a t h e r t h a n t h e ru d e s a y a g u e s , i n h a b i t t h e V al do Otea and t h e b ank s o f t h e R i v e r Tormes.

N atu re i s l e s s an e n t i t y i n i t s e l f

th a n a r e f l e c t i o n o f t h e s o c i e t y t h a t views i t . The a p p e a l o f b u c o l i c and p a s t o r a l p o e t r y t o t h e e i g h t e e n t h c e n t u r y i s t h e a p p e a l t h a t a r e t u r n t o n a t u r e h o ld s f o r h i g h l y c i v i l i z e d and p o l i s h e d s o c i e t i e s . I t i s n o t , how ever, th e a p p e a l t h a t N a tu re would have f o r th e R om antics a few y e a r s l a t e r . The R om antics lo o k e d — or th o u g h t t h e y lo o k e d —a t " n a tu i-a l n a t u r e , " w h ile t h e men o f t h e e i g h t e e n t h c e n t u r y lo o k e d b a c k upon an im agined p r i m i t i v e n a t u r e , a Golden-Age n a t u r e . As J o v e l l a n o s s a y s , p e o p le who know o n ly t o o w e ll t h e n o is e and te d iu m o f c o u r t l i f e t u r n t h e i r eyes w i t h p l e a s u r e upon th e more sim p le and in n o c e n t l i f e t h a t t h e y im ag in e t h e i r a n c e s t o r s l i v e d , and t h e y s in g of p a s t o r a l l i f e n o t a s i t i s i n t h e i r ovm t i m e s , mean and p u d e , b u t a s t h e y t h i n k i t must have b e e n in t h e a n c i e n t p a s t . Perhaps t h e changes t a k i n g p la c e i n Europe and i n S p ain l e d e i g h t e e n t h c e n t u r y p o e t s t o e s c a p e t o a n a t u r a l w orld o f t h e i r own m aking.

One

o f t h e i l l s t h a t Cueto a s c r i b e s t o t h e e i g h t e e n t h c e n t u r y i s i t s "conraocion g e n e r a l " i n t h e a r e a o f p o l i t i c s :

"...

s i n d a r l e s un nuevo

a s i e n t o , s a c a b a de su a s i e n t o a n t i g u o â l o s e s ta d o s c u r o p e o s . " ^ ^ such t i m e s , t h e more s o p h i s t i c a t e d t o o k r e f u g e i n p o e t r y .

In

I t i s not

L. M c C le lla n d , The O r ig in s o f t h e Romantic Movement i n Spain ( L i v e r p o o l : I n s t i t u t e o f H is p a n ic S t u d i o s , 1 9 3 7 ) , pp. 308-309.

^■^Monguio, op. c i t . , p. 2?H.

^^Cueto, op. c i t . , p. CCXXXVI.

33 u n n a t u r a l t h a t t h e p o e t ry o f t h e i r l i k i n g s h o u ld be s e t i n a n im ag in ed A r c a d ia , vague b o th in tim e and i n g e o g r a p h i c a l o u t l i n e .

In t h e v ie w

o f Ei-nest M lrim ce, one would n o t e a s i l y f i n d o n e 's way i n t h e la n d s c a p e of th e P a rn a s o salascant. j n o , n o r e a s i l y r e c o g n i z e i t s i n h a b i t a n t s : . . . on ne s ' a v i s e r a p a s d e c h e r c h e r dans l e s p o é sie s de ce g ro u p e e t d an s c e l l e de M eléndez, son p r i n c i p a l r e p r é s e n t a n t , l a m oindre t r a i t de v é r i t é p a r t i c u l i è r e , l o c a l e , l a m oindre p r é o c c u p a tio n de d e s c r i p t i o n e x a c t e , d ' o b s e r v a t i o n r é e l l e . La n a tu r e q u ' i l s p e i g n a i e n t , l e s p e rs o n n a g e s q u ' i l s y m e t t a i e n t é t a i e n t t o u t e n t i e r s dans un e im a g in a tio n d 'e m p r u n t e t une mémoire p u r e l i v r e s q u e . Pour l e s v o i r , i l l e u r f a l l a i t , non p o in t o u v r i r l e s yeux, m ais l e s ferm er p l u t ô t . J e s e r a i s b i e n étonné que l e l e c t e u r de M elen dez, en p a s s a n t p a r Salam anque, p û t r e c o n n a î t r e l e s b o s q u e t s d ' O t e a , ou l e Zurguen, ou l e s b o r d s du T erm es, dans l e s v ag u es d e s c r i p t i o n s du p o è t e . ^5 C a d a ls o , th r o u g h h i s Academia c a d a l s i c a t h e moot i n f l u e n t i a l p o e t i n Salam anca b e f o r e h i s d e p a r t u r e and by a l l a c c o u n ts t h e m ost c u l t u r e d and w i d e l y - t r a v e l e d o f t h e S ala m an ca n s, l i g h t - h e a r t e d l y d i s ­ d a i n s t h e s e r i o u s p o e t r y w h ich h i s e d u c a t i o n m ig h t have l e d him t o w r i t e and d e d i c a t e s h im s e lf t o p o e t r y o f lo v e and p l e a s u r e .

In h i s

" E p i s t o l a d e d ic a d a a O r t e l i o " / G a r c i a de l a I l u e r t ^ , Cadalso w a rn s , iOh, como e x t r a h a r a s , cuando e s t o v e a s , Y s o lo b a g a te la s aqui l e a s , Que y o , c r i a d o en f a c u l t a d e s s é r i a s , Me a p l iq u e â t a n r i d i c u l e s r a a t e r i a s l C adalso im a g in e s t h a t O r t e l i o ' s r e a c t i o n would be th e fo llo w in g q u estio n s: " iP o r qué no t e d e d i c a s , como es j u s t o , it m a t e r i a s de mas v a l o r que g u s to ? De l a s g u e r r e r a s a r t e s que a p r e n d i s t e Cuando a campaha v o l u n t a r i o f u i s t e ;

25

E r n e s t Mérimée, " E tu d e s s u r l a l i t t é r a t u r e espagnole au XIXe s i è c l e ; Meléndez V a ld e s ," Revue H i s p a n i q u e , I - I I ( I 89H -I 8 9 5 ), pp. 227- 2 2 8 .

3k i P e r o c o p l i l l a s , y de amor? IAy t r i s t e ! P e r d i s t e e l poco s e s o que t u v i s t e . " 2 6 In 1773 C a d also p u b l i s h e s h i s Ocios de mi j u v e n t u d ; by vay o f p r e a m b le , t h e a u t h o r e x p l a i n s " l o s m o tiv e s que tu v o p a r a a p l i c a r s e â l a p o e s i a , y l a c a l i d a d de l o s a s u n t o s que t r a t a r â en su s v e r s o s . "

C a d a l s o 's

them es v i l l occupy b o t h t h e Academia c a d a l s i ca and t h e P a rn a s o sa la m a n tin o : Todos de r i s a so n , g u s t o s y am o re s. No t o c a r e m a t e r i a s s u p e r i o r e s ; De l o s supremos d i o s e s y l o s r e y e s La o s c u r a voz y l a s s é c r é t a s l e y c s ; Los a r c a n o s , enigmas y m i s t e r i o s . No d i g o con o sa d o s v e r s o s s e r i e s j A n te s con mas s e n c i l l o y b a j o to n o C e l e b r o l a cabana y d e j o e l t r o n o . Ya c a n to d e p a s t o r a s y p a s t o r e s Las f i e s t a s , e l t r a b a j o y l o s amores . . . (pp. 2k8 - 2 k9 ) And, a s i f in m ockery o f t h e a s t r o n o m i c a l i n v e s t i g a t i o n s o f h i s d a y , and o f t h e s c i e n t i f i c s p i r i t g e n e r a l l y , C ad also a s k s , Y d i, le c to r: i a c a s o nos im p o rta (Pues l a v i d a es t a n f r a g i l y t a n c o r t a ) Que Febo de su v u e l t a c o n c e r t a d a , S ie n d o l a t i e r r a ] a que e s t a p a r a d a , 0 q u e , p a ra d e e l s o l , l a t i e r r a s u e l t a , Al r e d e d o r de Febo de l a v u e l t a . . . ? ( p . 2k9) A ngel V alb u en a P r a t , c h a ra c te riz e s

s p e a k in g of t h e " lla m a d a e s c u e l a s a l a m a n t i n a , "

i t a s made up o f " a u t o r e s de mediano v u e l o , de s o b r i o s

a c e n t o s , s i se e x c e p tu a a l v e r d a d e r o p o e t a Melendez V a l d e s . "

P7

M elendez

v a s p e r h a p s t h e moot a m b itio u s o f t h e Salamancan p o e t s ; t h e o t h e r s v e r e

^ J o s e C a d a ls o , " P o e s f a s , " P o e ta s l i r i c o s d e l s i g l o W i l l , B.A.E. 61 (M adrid: R iv a d e n e y r a , 1 9 ^ 2 ), p. 258. F u r t h e r r e f e r e n c e s t o B .A .E . 61 w i l l be by page number in p a r e n t h e s e s w i t h i n t h e t e x t . 07

Angel V a lb u e n a P r a t , N i s t o r i a de d a l i t e r a t u r a e s p a n o l a , Tomo I I (B a r c e lo n a : G ustavo G i l i , 1 9 3 7 ), p . 59u.

35 m odest i n t h e i r aim s.

F ra y Diego v r o t e o n ly foi* h i s f r i e n d s and on

h i s d e a t h b e d a s k e d t h a t h i s p o e t r y be b u r n e d .

C a d a ls o , i n a poem e n ­

t i t l e d " F r u t o que d eseo s a c a r d e mis p o e s i a s , " makes c l e a r t h a t he i s a p o e t "de m ediano v u e l o " ; i n r e t r o s p e c t , t h e f a c t o f h i s e a r l y d e a t h t i n g e s h i s l i n e s v i t h m elan ch oly and v ; i s t f u l n e s s . H o racio con su s v e r s o s a s p i r a b a De l a in m o r tn li d a d â l a a l t a curabre . . . Pero mi musa, inenos a l t a n e r a , S in a s p i r a r â que su s p o e s i a s Sean d o c to s o b je to s A l l a en l e j a n o s b i a s , Cuando v iv a n lo s h i j o s de mis n i e t o s , Solam ente desea Que en e s t a s h o ja s mi c o n s u e lo v e a En e l mar de l a s u e r t e en que n a v e g o , C ual p a s a j e r o c ie g o Y tim id o , ig n o ran te D e l rumbo, de l a s c o s t a s y d e l v i e n t o , Y d e l mudable y b a r b a r o e le m e n t o , Temiendo a cada i n s t a n t e H a l l a r s e g u r a m uerte . . . . (p p . 2 ^ 9 -2 5 0 ) As f o r t h e " s o b r i o s a c e n t o s , " th e y a r e more l i k e l y t o come from J o v e l l a n o s t h a n from C ad also . Even t h e s e v e r e J o v e l l a n o s fo u n d r e s p i t e from h is d u t i e s in w ritin g p o e try .

His b i o g r a p h e r , Cean Bermddez, r e l a t e s t h a t J o v e l l a n o s .

S in f a l t a r a l a s o b l i g a c i o n e s de su empleo n i a l despacho de e s t a s c o m is io n e s sc d e d ic o en S e v i l l a â l a p o e s i a en l o s d i a s f e r i a d o s , que cran muchos en a q u e l l a e p o c a , y en l o s r a t e s que l e quedaban l i b r e s . To Cean Bermudez i t i s an a p p a r e n t c o n t r a d i c t i o n i n J o v e l l a n o s ' c h a r a c ­ t e r t h a t he s h o u ld d e d i c a t e h i s l e i s u r e ti m e t o p o e t r y , e s p e c i a l l y t o p o e t r y unbecoming to t h e A lc a ld e d e l crim en de l a A u d ie n c ia de S e v i l l a .

2'3juan A g u s tin Cean Bermudez, Memorias p a r a l a v id a -del Excmo Sehor D. C asp ar Mel.ciior de Jove L la n o s , y n o t i c i a s a n a l i t i c a s de s u s o b ra s (M adrid: F u e n te n e b r o , lbl)i ) , p . 22.

36 In a f u r t h e r n o t e on h o l i d a y s in S e v i l l e , Cean Bermudez s a y s , " . . . en t a l e s d i a s , en que no h a b i a a u d i e n c i a , s e ocup ah a don Caspar an h a c e r ?9 v e r s o s , 6 on e s t u d i o s , que p a re c e n ag en o s d e su p r o f e s i o n . " '

The

i . e r t u l i a o f Don P ab lo de O lavide f o s t e r e d t h e n a t u r a l i n c l i n a t i o n t o wai'd p o e t r y t h a t had d i s t i n g u i s h e d J o v e l l a n o s s i n c e h i s y o u th .

But

t h e main s t i m u l u s came from S alam an ca, w here t h e P a rn a s o s a la m a n tin o was m e e tin g i n t h e c e l l o f F ray D iego G o n z a le z .

Cean Bermudez g iv e s

t h i s a c c o u n t o f t h e f i r s t c o rre s p o n d e n c e betw een J o v e l l a n o s and t h e Salam ancans; o f J o v e l l a n o s , he s a y s : P ero l a c a u s a p r i n c i p a l de i n f l a m a r su e s t r o , y de querer p e r f e c c i o n a r s e en e l a r t e de v c r s i f i c a r , f u e l a d e h a b e r l e p r e ­ s e n t s do e n S e v i l l a e l P. M. f r a y M iguel M i r a s , a g u s t i n o c a l z a d o , u n o s v e r s o s de su amigo y hermano de h a b i t e f r a y Diego G on zalez, con q u ie n t e n i a c o r r e s p o n d e n c i a . R e s i d i a e n to n c e s e s t e r e l i g i o s e en S a la m a n c a , donde p ro c u ra b a r e s u c i t a r e l m e tro y d e l ic a d o g u s to d e f r a y L u i s de Leon e n t r e don Juan M elendez V ald es y o t r o s jo v e n e s de a q u e l l a u n i v e r s i d a d . Y como h u b ie s e n a g ra d a d o mucho a don C a s p a r l o s v e r s o s y e l d eseo de f r a y D ie g o , cay 6 en l a vehemente t e n t a c i o n d e c o n t e s t a r l e erivian dole u n a rc u e s tra de l o s s u y o s. No s e a t r e v i a , p e r o l a p e r s u a s io n d e l P . M ira s l e o b l i g o a d e c i d i r s e , y p o r su mano d i r i g i o a l P. G onzalez l a H is to r ia . de J o v i n o , que compuso a l i n t e n t o . . . . ^ 0 L a t e r , J o v e l l a n o s had a p o e t i c c r i s i s o f c o n s c i e n c e , so t o s p e a k , and fo rsv /o re h i s y o u t h f u l p o e t r y ; he f e l t t h a t t h i s p o e t r y was unw orthy o f h i s p r o f e s s i o n and he c o n s id e r e d h i m s e l f o b li g e d t h e r e f o r e t o w ith h o ld i t from p u b l i c a t i o n .

When h i s p o e t r y d i d a p p e a r i n p r i n t , i t was p r e ­

f a c e d by a l e t t e r from J o v e ll a n o s t o h i s b r o t h e r , i n w hich t h e a u t h o r s a i d , r e f e r r i n g t o h i s e r o t i c c o m p o s itio n s : P ero s o b r e t o d o , nada d e b io o b lig a r m e t a n t o â r e s e r v a r l o s y e s c o n d e r l o s , como l a m a t e r i a s o b r e que g e n e r a lr a e n te r e c a e n . En m edio de l a i n c l i n a c i o n que te n g o a l a p o e s i a , s ic m p re he mirado l a p a r t e l i r i c a de e l l a como poco d ig n a de un hombre s e r i o , e s p e c ia .lrn e n te cuando no t i c n e mas o b j e t o que e l amor . . . Y ve a q u i l a r a z o n que me ha o b lig a d o a o c u l t a r cuidadosam 'ente mis po ' I b i d . , p . 292, n .

Qn ^ I b i d . , pp. 289-290.

37 v e r s o s , co no cien d o que p u e s a l coiaponerlos h a b i a s e g u id o e l in:pulso de l o s ahos y l a s p a s i o n e s , no d e b i a h a c e r u n a d o b le i n j u r i a â mi p r o f e s i o n con l a f l a q u e z a de p u b l i c a r l o s . . . 3 1 J o v e lla n o s ' m isg iv in g s about h i s y o u th fu l p o e try u ltim a te ly had an e f f e c t on t h e s t y l e an d s u b j e c t m a tte r o f t h e Salamancan p o e t s . In t h e e a r l y s e v e n t i e s , C a d a ls o had s e t t h e f e s t i v e , e s c a p i s t t o n e f o r t h e p o e ts o f t h e Academia c a d a l s i c a w ith h i s A n a c r e o n tic c o m p o s itio n s . A f t e r 3.776 ) J o v e l l a n o s , o f c o n t r a r y i n s p i r a t i o n , became t h e m a y o ra l of t h e P a rn a s o s a l a m a n t i n o .

As a man c h a r g e d w ith g r a v e p u b l i c r e s p o n s i ­

b i l i t i e s , J o v e l l a n o s v a n t e d t o e f f e c t m o ral r e f o r m i n S p a in .

One o f

t h e in s tr u m e n ts o f r e fo rm i n h i s v i e v v a s a r t , s p e c i f i c a l l y p o e t r y . When, a t h i s u i-ging, t h e A r c a d ia n p o e t s o f Salamanca a p p l i e d t h e i r t a l e n t s t o a l i e n th e m e s, t h e n a t u r e o f t h e i r p o e t r y s u f f e r e d a change. T]oe r e a l vor].d began t o i n t r u d e upon t h e im ag in ary w o rld v h i c h t h e y had c r e a t e d on t h e banks o f t h e R iv e r Tormes.

3lG aspar M elchor de J o v e l l a n o s , Obras n u b l i c a d a s e i n e d i t a s ; c o l e c c i c n hecha e i l u s t r a d a p o r D. Canuido N ocedal. Tomo P rim e ro . B.A.E. 46 (M adrid: M. B iv a d e n e y r a , 1 8 5 8 ) , pp. 1 -2 .

CHAPTER IV

FRAY DIEGO TADEO GONZALEZ

The s t o r y of F ray D ie g o 's l i f e and t h a t o f h i s p o e t r y a r e a lm o s t a s o n e , s a y s F a th e r F e rn a n d e z ; f o r t h i s r e a s o n , he does n o t e l a b o r a t e g r e a t l y on t h e e v e n ts o f F r a y D i e g o 's l i f e i n h i s " N o t i c i a s d e l M. G o n z a l e z . "1

These e v e n ts can be b r i e f l y s t a t e d .

F ray Diego

Tadeo G o n zale z v a s b o rn i n Ciudad R o d r ig o , p r o v i n c e o f Salam anca, i n 1T32 or 1733-

2

His p a r e n t s v e r e Don D iego A n to n io Gonzalez and Doha

Tomasa d e A v i l a G a r c ia y V a r e la .

The e l d e r G o n z a le z , though n o t a p o e t

h i m s e l f , knew and adm ired th e b e a u t i e s o f p o e t r y and p ro v id ed h i s s o n w ith books t o r e a d .

Diego Tadeo e x h i b i t e d e a r l y i n l i f e an a f f i n i t y

f o r p o e t r y a n d , w h ile s t i l l v e r y yo u n g , r e a d t h e b e s t o f t h e S p a n is h p o e t s ; p o e t r y was s o n a t u r a l t o him t h a t he was w r i t i n g v e r s e s b e f o r e he r e a c h e d a d o l e s c e n c e .

He was o f a t e n d e r n a t u r e and e x p e rie n c e d t h e

p a in s o f l o v e a t t h e same tim e t h a t he d i s c o v e r e d t h e charms o f p o e t r y . In h i s H i s t o r i a de D e l i o , F ray D iego r e c a l l s t h e i n t e n s i t y of h i s y o u t h ­ f u l lo v e :

\ l u a n F e rn a n d e z de R o ja s , "Al que l e y e r e , " P o e s ia s d e l M. F r, Diego G o n zale z (M adrid, l 8 l 2 ) , n . p. ^The f a c t s o f F ray D ie g o 's b io g i'ap h y a r e ta k e n from Juan F ern a n d e z de R o j a s , " N o tic ia s d e l M. G o n z a le z ," P o e s ia s d e l M. F r . Diego G onzale z (M adrid, l O l 2 ) , n . p . ; C u e to , op. c i t .

38

39 Amabs, a r d .ie n t e m e n t e , Ana'ba t i e r n a m e n t e , Aiiaba s i n in e d id a ; Arnaba, en f i n , de modo que aun a h o r a , a l r e c o r c l a r l o , tie m b lo t o d o . F ra y D ie g o 's a d o l e s c e n t lo v e p o e t r y h a s n o t been p r e s e r v e d , b u t i t can be i n f e r r e d t h a t h i s v e r s e s v e r e o f l i t t l e m e r i t , f o r he c o n t i n u e s . Do t a l fu e g o a g i t a d o , Sin que a A polo d e b i e r a Irdmen n i i n f l a m a c i o n , c a n to amoroso . . . Love c o n t in u e d t o be an im p o r ta n t p a r t o f F r a y D i e g o 's l i f e : "Su c o r a z o n t i e r n o y d e l i c a d o h a b i a n a c id o u n ic am en te p a r a a m ar, p a r a am a rlo t o d o , " s a y s C u e to . su a l m a ."

" D io s, l a m u j e r , l a h um a n id ad , se d i s p u t a b a n

Love o f God p r e v a i l e d ; a t t h e age o f e i g h t e e n , Diego Tadeo

donned t h e h a b i t o f S a i n t A u g u s tin e and p r o f e s s e d i n t h e m o n a s te r y o f San F e l i p e e l R e a l i n M adrid on t h e 23rd o f O c to b e r, 1751.

In M adrid

and S alam an ca, D iego Tadeo s t u d i e d w i t h a p p l i c a t i o n an d p r o g r e s s , b u t h i s c l a s s m a t e s n o t i c e d i n him a p a r t i c u l a r b e n t to w a rd p o e t r y and a s i n g u l a r i n t e r e s t i n a l l books d e a l i n g w ith p o e t r y .

A f t e r F r a y Diego

com pleted th e p r e s c r i b e d y e a r s of s t u d y , t h e Church a v a i l e d i t s e l f o f h i s s p e c i a l t a l e n t s f o r a d m i n i s t r a t i o n ; F ra y Diego c a r r i e d o u t , t o t h e s a t i s f a c t i o n of h i s s u p e r i o r s , t h e d u t i e s o f s e c r e t a r y o f t h e V i s i t o r G e n e ra l o f t h e p r o v in c e o f / m d a l u s i a , p r i o r of t h e m o n a s t e r i e s of S ala m an ca , Pamplona, and M a d rid , s e c r e t a r y of t h e p r o v i n c e o f C a s t i l e , and r e c t o r o f t h e C o le g io de Dona M aria de Aragon. I n s p i t e o f t h e n a t u r e and demands o f h i s p r e l a c i e s , F r a y Diego c o n t in u e d t o w r i t e am orous p o e t r y , which h e a d d r e s s e d t o v a r i o u s women w ith c o n v e n t i o n a l p a s t o r a l names. p o e t r y , I . L. M c C le llan d s a y s :

Of t h e s e women i n F ra y D i e g o 's

ho F r a y D i e g o 's a p o l o g i s t s a r e c a r e f u l t o p o i n t o u t t h a t a l th o u g h M ir ta and M e lis a were r e a l p e r s o n s t h e poems a r e n o t t o h e ta k e n as a c t u a l lo v e poems. Of th e tw o , M i r t a , w)io f i g u r e s in th e famous " E l in u r c i e la g o a l e v o s o , " i s t h e more c o n s t a n t l y a d d r e s s e d . The o t h e r l a d i e s o f F ray D ie g o 's poem s, V i c e n t a , L i s i , F i l l s , a r e p r o h a b ly i m a g in a r y .3 S t i l l , t h e r e i s an in e s c a p a b l e i n c o n g r u i t y i n t h e f a c t t h a t F ray D ie g o , by a l l a c c o u n t s an exem plary c l e r i c , sh o u ld -write p o e t r y of an amorous n atu re.

T h ere i s even a s u g g e s tio n t h a t some o f h i s p o e t r y c o u ld be

scabrous:

Cueto g iv e s only th e t i t l e s o f two poems, " C a n t i l e n a â M ir ta "

and " C a t ira. a u n a v i e j a , " which he d oes n o t i n c l u d e ' i n h i s c o l l e c t i o n f o r t h e E i b l i o t e c a de A utores E s p a n o l e s , " p o r p a r e c e r n o s ambas comp o s i c i o n e s i n d i g n a s , p or v a r i e s m o t i v e s , de a q u e l s ir a p a tic o poeta."** In t h e y e a r 1 7 7 6 , an e p i s t l e from J o v e l l a n o s , ad m o n ish in g t h e Salamancan p o e t s t o a b j u r e e r o t i c v e r s e and t o w r i t e on m o ral o r h e r o i c th e m e s, e l i c i t e d .irom FT ay Diego a p rom ise t h a t he would h e n c e f o r t h w i t e on e l e v a t e d s u b j e c t s :

only

"D e l i o , a l m e n o s, d a una f ir m e p a l a b r a d e , 6 no

c a n t o r j a m a s , 6 em p lear su c a n to en a l g u n a de l a s g r a v e s m a t e r i a s que V. S. s e s i r v e pon er a su c u id a d o , h a c i e n d o l e e l honor de c r e e r l e capaz d e l desempeiio. " F r a y D i e g o 's s c r u p l e s a b o u t h i s p o e t r y i n c r e a s e d a s he grew o l d e r ; when he r e a l i z e d t h a t h i s d e a t h was im m inent, he made a r r a n g e ­ m ents w ith F r a y Juan F ernandez de R o ja s f o r t h e d e s t r u c t i o n o f a l l h i s papers.

F a t h e r F e rn a n d e z g iv e s t h e f o l l o w i n g a c c o u n t:

•^I. L. M c C le lla n d , op. c i t . , p . 3 1 2 ’, n . 2. 1;,'C u e to , o p . c i t . , p. 179, n . 2 . ^'D L e tte t t e r d a te d September 28, 1776; q u o te d by C u e to , op. c i t . , p . CXI, n . h.

In E n to n ces l e e n t r e a lg u n e s c r u p u lo por c a u s a de s u s p o e s i a s , y h a b i e n d o la s j u n t a d o con v a r i a s c a r t a s y p a p e l e s i n u t i l e s , me e n c a rg o cue l o quemara to d o j u n t o , s i n a d v e r t i r m e n a d a . Yo sospeclie e l engano que q u e r i a h a c e rm e , d e l dem asiado c u id a d o que p o n ia en o c u l t a r l o ; y como su suma d e b i l i d a d no l e h a b i a p e ria itid o b a r a j a r b ie n l o s p a p e l e s , a n t e s de a p l i c a r l a ll a m a c o n o c i que e s t a b a n a l l i s u s p o e s i a s . A p a r t e l a s con c u i d a d o , y l i b r e de un e t e r n o o l v i d o l o s f e l i c e s p a r t o s de e s t e in g e n i o e s p a n o l ; p ero e l quedo muy s a t i s f e c h o de que con su m u e rte p e r e c i a n tam bien to d o s sus v e r s o s . E sto fu e c u a t r o d i a s a n t e s de xaorir . . . On September 10 , l^ Q ^ , Fray Diego G o n zale s d i e d .

The f i r s t e d i t i o n of

h i s c o l l e c t e d p o e t r y v a s p u b lis h e d i n M adrid i n 1796.

F a t h e r Fernandez

says in h i s b r i e f b io g r a p h y o f F ray Diego t h a t "El m a e s tro Gonzalez t e n i a sus p o e s i a s s i n ord en alg u n o .

Yo l a s he dado a l g u n a c o o r d i n a c i o n ,

c l a s i f i c a n d o l a s p i e z a s segun su e s p e c i e . "

He a l s o s a y s t h a t he i s

p r e s e n t i n g t o t h e p u b l i c F ra y D i e g o 's v e r s e s " p u r i f i c a d a s y n e t a s , " ! ' which s u g g e s t s t h a t e i t h e r F a t h e r F e rn a n d e z d i d n o t p u b l i s h a l l of Fray D i e g o 's poems o r t h a t h e c e n s o r e d , t h a t i s t o sa y ', p u r i f i e d them. In any c a s e , C ueto s a y s , w ith o u t f u r t h e r c l a r i f i c a t i o n , t h a t he i s i n c l u d i n g i n h i s c o l l e c t i o n f o r t h e BAH " a lg u n o s v e r s o s i n é d i t e s d e l M aestro G on zale z."®

V/lxatever may h a v e been t h e f e e l i n g s o f F a t h e r

F ern an d ez i n p r e s e r v i n g F ray D ie g o 's works f o r p o s t e r i t y , he d id not p e r fo r m , i n t h e o p i n i o n of a t l e a s t one c r i t i c , so g r e a t a s e r v i c e t o S p a n is h l e t t e r s a s h e had t h o u g h t .

R e f e r r i n g t o F ra y D i e g o 's w is h ,

Angel V albuena P r a t w r i t e s : A ntes de m o rir q u i s o que su amigo e l P. F e rn a n d e z queraase sus m a n u s c r i t e s — con l o c u a l , s ea d ic h o en g r a c i a a l a v e r d a d , no s e h u b i e r a p e r d i d o , s a lv o en c o n ta d o s c a s o s , nada e x t r a o r d i n a r i o , — p e r o su v o l u n t a d no f u e c u m p lid a .^ •

^ " N o t i c i a s d e l M. G o n z a le z ," n . p.

^I b i d .

®Custo, op. c i t . , p. 1 7 9 , n. 2 . ^Angel V a lb u en a P r a t , op. c i t . , p. 596, n .

k2

The d e t a i l s o f F r a y D i e g o 's d a i l y e x i s t e n c e , as w e l l a s a p i c t u r e o f h i s r e l a t i o n s h i p w ith o th e r members o f t h e P a r n a s o s a l a m a n t i n o , c a n b e deduced from t h e c o rre s p o n d e n c e t h a t p a s s e d betw een S alam anca, M ad rid , and S e v i l l e .

From t h e comments o f F ra y D i e g o 's c o n t e m p o r a r i e s ,

and fro m F ray D i e g o 's own w r i t i n g s , t h e r e emerges an a t t r a c t i v e p i c t u r e o f t h e am iable p r i e s t and of t h e r e s t r i c t e d w o rld i n which he l i v e d . In a l e t t e r t o F ra y M igu el de M iras (M ire o ) in S e v i l l e , F r a y Diego l i s t s t h e p o e t s t h a t c o m p rise th e P a rn a s o s a l a m a n t i n o : . . . se compone de c in c o p o e t a s que se t r a t a n con f a m i l i a r i d a d y mutuamente s e e s tim a n . Los t r e s , L i s e n o , D e l i o , y A ndronio son de c a s a . . . Los o t r o s dos p o e ta s son jo v e n e s s e g l a r e s , p r o f e s o r e s de J u r i s p r u d e n c i a , en que van h a c ie n d o s i n g u l a r e s p r o g r e s o s . Uno y o t r o ban compuesto mucho, c a d a c u a l p o r su t e r mi no . . . L ise n o i s F ray J u a n F ern a n d e z de R o ja s ; D e lio i s , o f c o u r s e . F ray D iego ; A ndronio (o r A n d r e n io ) i s F ray ,Andres d e l C o r r a l ; a l l t l i r e e ai'e o f t h e same A u g u s t i n i a n m o n a stery ("d e c a s a " ) .

C ueto s u r m is e s t h a t t h e

two l a y p o e ts a r e M elendez V a ld e s and Ju an P a b lo F o r n e r . ^

The d a t e

o f F ra y D ie g o 's l e t t e r , November 11, ITT5 3 g i v e s t h e ap p ro x im a te y e a r f o r d a t i n g t h e f o r m a t i o n o f t h e P a r n a s o ; u n t i l I T T 3 t h e y e a r o f C a d a l s o 's d e p a r t u r e from S ala m an ca , t h e a g g r u p a t io n o f p o e t s had b een c a l l e d t h e Academia c a d £ l s i c a .

By ITT5 3 t h e P arn aso was m e e tin g i n t h e m o n a ste ry .

B oth c o n t e m p o r a r i e s a n d l i t e r a r y h i s t o r i a n s a t t e s t t o t h e a f f a b l e n a t u r e o f F ra y D iego and t o t h e s u i t a b i l i t y of h i s c h a r a c t e r t o t h e r e l i g i o u s l i f e and t o t h e a d m i n i s t r a t i o n o f r e l i g i o u s c o m m u n itie s . F a t h e r F e r n a n d e z , c o - r e l i g i o n i s t and f r i e n d o f F r a y D ie g o , p r a i s e s t h e l a t t e r ' s " b e l l a s c u a l i d a d e s " and h i s " p re n d a s mas s i n g u l a r e s p a r a e l g o b ie r n o " :

l ^ C u e t o , op. c i t . , p . C V I I I , n, 1.

^^I b id .

^3 E ra de u n g e n io samainente p a c i f i c o y s u a v e ; amaba t i e r n a m e n t e â sus seme j a n t e s , y con extremo a aq.uellos a q u i eues s e u n i a con l o s v i n c u l o s de l a a m i s t a d . E l c o n o c im ie n to de l a f r a g i l i d a d humana, y e l e j e r c i c i o de u n a c a r id a d v e r d a d e r a , l e h a c ia n m i r a r l a s f a l t a s de sus iiermanos con t a n t a com pasion, que jamas hubo d e l i t o que no en co n tro .se p a r a con e l 6 d is im u lo 6 m i s c r i c o r d i a . . E x a c tis im o en e l cu m n lim icn to de sus o b l i g a c i o n e s , r e p r e n d i a con e l ejcm plo mas que con l a s p a l a b r a s ; siompre huma.no p a r a con l o s f r a g i l e s , c a r i f ic s o con l e s o'bservadores de l a l e y , y p r u d e n t e , a f a b l e y j u s t o con t o d o s . 12 To C u e to , F r a y D iego i s one o f t h e p o e ts o f idiom Salamanca can most j u s t i f i a b l y be pro u d : . . . uno de l o s c a r a c t è r e s mas s i m p a tic o s y mas p u ro s que han da.do l u s t r e a l c l a u s t r a y a l a s l e t r a s . . . . No s e p r e s t a b a â arnbicioKos v u e l o s . V iv ia su e s p i r i t u en una e s f e r a m i s t i c a , t a n a p a c i b l e y t a n sc-reria, que no p o d ia n e n t r a r en e l l a e n tim u lo s mundanos, y mucho mènes ag_uellos que r e c i b e n su f u e r z a en l a v a n i dad. h i aun l a v a n a g l o r i a l i t e r a r i a , en su e x p r e s io n mas i n o c e n t e y mas i n o f e n s i v a , p o d i a c a b e r en un alma e n te ra ra e n te subyugada p o r l a mansedurabre y l a m o d e s t i a . 13 I t i s c l e a r t h a t F ray D iego was a c o n s c i e n t i o u s a d m i n i s t r a t o r a s v e i l as an exem plary p r i e s t .

I n a l e t t e r t o J o v e l l a n o s , Melendez V aldes

w r i t e s t h a t F r a y Diego i s "sumfrnente ocupado en c o s a s d e l o f i c i o . " l ^ The d u t i e s o f p r i o r of t h e m o n a s te r ie s o f S ala m an ca , Pam plona, and Madrid som etim es cau sed F ray Diego t o wish s e c r e t l y f o r t h e freedom of s e c u l a r l i f e .

Such, a t any r a t e , a r e t h e s e n ti m e n t s t h a t he c o n ­

f i d e s t o F r a y M ig uel de M ir a s , who a t t h e t i m e (17T6) was l i v i n g i n Madrid and e n j o y in g t h e company o f J o v e l l a n o s :

"îQué v i d a t a n d e l i c i o s a

habiamos de p a s a r v i v i e n d o ju n to s y l i b r e s ! "15

And t o J o v e l l a n o s F ray

1 2 " îîo tic ia .s d e l M. G o n z a le z ," n. p . 13

C u e to , o p . c i t . , p. CV III.

^'V uan Melendez V a ld e s , "Cai^tas i n e d i t a s de Melendez V aldes a J o v e l l a n o s , " Po e t a s l i r i c o s d e l s i g l o X V I II . C o lo c cio n form ada ë i l u s t r a d a p o r Leopoldo A ugusto de Cueto. Tomo scgundo. (M adrid: M. R iv a d e n e y ra , I 87I ) , p. 75.

15

C u e t o , op. c i t . , p . ex.

kk

D iego c o n f i d e s t h a t h i s d u t i e s a r e p h y s i c a l l y and m e n t a l l y e x h a u s ti n g : Creo que e l o f i c i o de p r i o r , despues de haberme ro b a d o mi n a t u r a l d u l z u r a , ha en erv a d o to d o e l v i g o r de mi e s p i r i t u , y es capaz de p r iv a r m e d e l u s o de l a r a z o n . E n te ra m e n te me d e s c o n o z c o , y me ad m iro de mi mismo. Me h a l l o t a n desm em oriado, que s e me o l v i d a n l o s nombres de l a s c o s a s mas comunes; c o s a que â v e c e s me da r i s a , y a v e c e s me c a u s a e l mayor c u i d a d o . That F r a y D iego w anted

t o go t o

M adrid t o j o i n h i s f r i e n d s i s e v i d e n t

i n a n o t h e r l e t t e r from

Melendez

t o J o v e l l a n o s ; '.Lïenemos â n u e s t r o

d u l c e D e li o s e c r e t a r i o de p r o v i n c i a , que es l o que a p e t e c i a , y V .S . l o t e n d r a on M adrid c u a n to a n t e s . "

17

This v a s i n 1779,’ by v h ic h tim e F ray

D i e g o 's r e l a t i v e l y h ig h o f f i c e i n h i s o r d e r e n a b le d him t o t r a v e l t o M ad rid . The c o u n t r y s i d e aro u n d Salamanca was f o r P ra y Diego an a b i d in g p l e a s u r e , in p a r t i c u l a r a n e a rb y hamJLet c a l l e d La F le c h a and a g r a n j a owned by t h e A u g u s t i n i a n s .

There a r e r e p e a t e d r e f e r e n c e s i n t h e l e t t e r s

o f M elendez t o t h e a b s e n c e o f F r a y Diego from Salamanca:

f o r exam ple,

" l l u e s t r o D e lio e s t a f u e r a , en una g r a n j a 6 l u g a r c i l l o de su comunidad, y no v e n d r a h a s t a d e sp u e s de R e y e s .

iQue P ascuas h a b r â t e n i d o , con l a s

ag u a s y e l mal tiem po que ha hecho.’"^®

F r a y Diego h i m s e l f d e s c r i b e s t h e

p l e a s u r e t h a t h e d e r i v e s from t h e c o u n t r y s i d e and from t h e memories t h a t N a tu re awakens in him ; in a l e t t e r t o F r a y M ig uel de M ir a s , he v n rite s : Manana s a l g o a p a s a r t r e s 6 c u a t r o d i a s en mi F l e c h a , que e s t a de a q u i , r i o a r r i b a , l e g u a y m e d ia. Tenemos a l l i unas h a c e h a s , un hermoso s o to y p r a d o , y l o que es mas que to d o , a q u e l l a h u e r t a que en e l p r i n c i p i o d e su D ialo g o de l o s Nombres d e C r i s t o d e s c r i b e con t a n t a b e l l e z a n u e s t r o i n s i g n e Léon, y

l ^ i b i d . , p . I 7G, n . 3 from p . 177. ^ ^ " C a r t a s i n S d i t a s de Melendez V aldes a J o v e l l a n o s , " p . 8 5 . bGj b i d . , p . 7 8 .

i+5 donde a a u e l M arcelo en seS o a su s coinpaneros t a n d i v i n a s d o c t r i n a s . E s t e es e l h u e r t o q u e , en l a c a n c io n de l a v i d a s o l i t a r i a /^ V id a r e t i r a d a ^ , l l a m a p l a n t a d o po r su mano* d e l m onte en l a l a d e r a , y l a f o n ta n a pm^a, que Por v e r y a c r e c e n t a r s u herm osura, Desde l a cumbre a i r o s a H a s ta l l e g a r c o r r i e n d o se apresaura, e t c . ; que t u l o s abc s t o d o de memoria y â la l e t r a , corao t a n a f i c i o n a d o â f r a y L u i s . . . . E s t a s inemorias ne harân d u l c i s i n i a l a es ta n c ia .-* '^ P e rh a p s i t was d u r in g t h e s e p e r i o d s o f r e s t an d t r a n q u i l i t y a t La F le c h a t h a t F ra y D iego u a s moved t o t r a n s l a t e psalms i n t o S p a n i s h , a s F ra y L u is had don e, o r t o w r i t e on t h e e l e v a t e d themes t h a t J o v e l l a n o s had s u g g e s te d .

Ifn a te v e r t h e c a s e , i n h i s in a tu f ity F ray D ieg o r e t u r n s

p o e t i c a l l y t o t h e memory o f h i s f i r s t love and s e t s t h e sc e n e i n t h e Salam ancan c o u n t r y s i d e .

■

F o r a l l t h e i n f l u e n c e t h a t La F l e c h a and t h e

memory o f F r a y L u is may h av e had on him, F ray D iego i s known l e s s f o r h i s m o r a l and r e l i g i o u s c o m p o s i tio n s than f o r h i s f e s t i v e an d amorous p a s to ra l verse. In h i s v e r s e . F ra y D iego r e c a l l s h is f i r s t y o u t h f u l lo v e f o r M e l i s a ; he a l s o a d d r e s s e s s e v e r a l poems to M irt a .

B oth M e lis a and

M ir ta were r e a l p e r s o n s , known and admired by s e v e r a l o f F ra y D i e g o 's f r i e n d s in S e v i l l e and C a d iz .

But from th e t e s t i m o n y o f F ray Diego

h i m s e l f , and from t h a t o f F a t h e r Fernandez and o t h e r s i n t h e P arnaso s a l a m a n t i n o , i t i s c l e a r t h a t P’r a y D iego's l o v e f o r M i r t a was p l a t o n i c , c a r r i e d on by m a i l from S alam anca an d Madrid t o S e v i l l e , and p e rh a p s no more t h a n l i t e r a r y a n d c o n v e n t i o n a l .

N e v e r t h e l e s s , t o G eorge T y le r

H o rth u p , F ra y D iego was "one o f t h o s e w orldly a b a t e s o f t h e c e n t u r y . H is work s u g g e s t s t h e h a r p s i c h o r d , t h e bewigged g a l l a n t s , and p a t c h c d -

i P C u e t o , op . c i t . , p. C f/I II .

46 and-povjdered b e a u t i e s o f t h e c i r c l e s he f r e q u e n t e d . P r o f e s s o r Monguio re m in d s u s t h a t t h e e i g h t e e n t h c e n t u r y was t h e c e n t u r y o f t h e c o r t e j o , t h e c i c i s b e o , t h e param our : I n F a t h e r G o n z a le z 's d a y s t h e " c o r t e j o " was a r e c o g n iz e d i n s t i t u t i o n i n S p a n is h s o c i a l l i f e . I\n E n g l i s h t r a v e l e r who v i s i t e d S p a in in 1786 and 1787 vn-ites t h a t t h e " c o r t e j o " "must be p r e s e n t e v e r y moment i n t h e d ay , w h e th e r i n p r i v a t e o r p u b lic ., in h e a l t h o r s i c k n e s s , and must e v e r y w here b e i n v i t e d t o a t t e n d / h i s l a d y j He a l s o n o t i c e s t h a t " t h e p r i n c i p a l c o r t e j o s in t h e g r e a t c i t i e s a r e t h e canons o f th e c a t h e d r a l s ; b u t where t h e m i l i t a r y r e s i d e , th e y t a k e t h e i r c h o i c e , and l e a v e t h e r e f u s e t o t h e c h u r c h . " I n su ch an atm osphere i t i s t o t h e m o r a l c r e d i t o f Gonzalez t h a t he was c o n t e n t w ith b e in g M i r t a ,'s p l a t o n i c " c o r t e j o , " a t th e s a f e d is ta n c e ,, o f th e many m i l e s w hich s e p a r a t e Cadiz from Salamanca o r M a d rid . " F r a y D i e g o 's a tta c h m e n t t o M i r t a c o n t in u e d even a f t e r t h e y had c e a s e d t o corresp o n d .

M irta,, p re s u m a b ly o c cu p ied w ith f a m ily m a t t e r s and w ith

t h e d i v e r s i o n s o f f e r e d by C a d iz , s to p p e d an s w e rin g t h e l e t t e r s from her d is ta n t c o r te jo .

In a l e t t e r t o J o v e l l a n o s , d a t e d a t S alam anca,

t h e 8 t h o f A u g u s t, 177 8 , F r a y D iego say s t h a t a l th o u g h M ir ta no l o n g e r w r i t e s t o him and h as f o r g o t t e n h i s a f f e c t i o n , h e , a s D e l i o , w i l l co n ­ tin u e to lo v e h e r:

"D e li o l a a m a ra , s i n t r a t a r l a , d e l niismo modo y en

e l mismo g ra d o que cuando l a t r a t a b a , por que no cabe en e l o t r a c o s a ; e s n a t u r a l â ê l no d e j a r de amar l o que una vez aiuo."^^ A lth oug h F ray Diego c o n tin u ed , t o w r i t e t o M ir ta a t l e a s t u n t i l m id - 1 7 7 8 , by 1776 he had r e a s o n t o q u e s t i o n th e p r o p r i e t y of h i s m r i t i n g amorous v e r s e s .

In Jo v in o â su s am igos de Sa]amanca (1776)

, Jo v e lla n o s,

now t h e a u s t e r e m a g i s t r a t e , e x h o r t s F r a y Diego ( D e l i o ) , Melendez V a ld e s

^OQeorge T y le r N o rth u p , An I n t r o d u c t i o n t o S panish L i t e r a t u r e , T h ird e d i t i o n r e v i s e d and e n l a r g e d by N ich olson B. Adams (Chicago: U n i v e r s i t y o f C'nicago I t e s s , I 96O), p . 320. ^^'Monguio, op. c i t . , p . 293.

^ ^C u eto , op . c i t . , p . CX, n. 2.

2 3 j o v e l I a n o s , op. c i t . , p p . 3 8 - 3 9 .

47 ( B a t i l o ) , and F ra y J u a n F ernandez de R o ja s ( L i s e n o ) t o abandon th e p r a c t i c e o f w r i t i n g lo v e p o e t r y and t o d e d i c a t e th e m s e lv e s t o h ig h e r ends.

J o v e l l a n o s f e a r s t h a t t h e c u l t i v a t i o n o f o n ly e r o t i c v e r s e w i l l

l e a d the Salaw ancan p o e t s t o o b l i v i o n ; ho a s k s , . . . iS ie ra p r o , siem pre D ara e]. arnor m a t e r i a â n u e s t r o s can to s? De c u a n t a s d ig n a s o b r a s la y ! privâm es A l a f u t u r a edad por u n a d u l c e P a c a je ra i l u s i o n , por una g l o r i a F r a g i l y d e l e z n a b l e , que nos r o b a De o t r a g l o r i a in m o r t a l e l a l t o prem io. I n h i s m a t u r i t y , J o v e l l a n o s came t o lo o k upon lo v e p o e t r y a s b o th un vortliy o f h i s h ig h o f f i c e and d e t r i m e n t a l t o th e p u b li c good; he came t o l o o k upon s e r i o u s p o e t r y , " l a d i d a s c a l i c a p o e s i a , " and upon t r a g e d y a s u s e f u l i n s t r u m e n t s f o r im p ro v in g p u b l i c t a s t e and m o r a ls . He t h e r e f o r e e n j o in e d h i s Salamancan f r i e n d s t o a s s u r e th e m s e lv e s a w orthy p l a c e in t h e f u t u r e by w r i t i n g on l o f t y s u b j e c t s .

To each o f

them he s u g g e s t e d a n a p p r o p r i a t e them e: E a, fa c u n d o D e l i o , t u , â q u ie n siem pre M inerva a s i s t e a l l a d o , s u s ; a s o c i a Tu musa â l a m oral f i l o s o f i a , Y c an ta la s v irtu d e s in o c e n te s Que h a c e n a l hombre j u s t o y l e conducen A e t e r n a b ie n a n d a n z a . Despues con g ra v e e s t i l o e n s a l z a a l - c i e l o La s a n t a r e l i g i o n de a l i a a b a j a d a , Y c a n t a su a l t o o r i g e n , s u s e t e r n o s Fundamentos . . . J o v e l l a n o s ' theme f o r Melendez V a ld e s : Sean t u o b j e t o l o s h e r o e s e s p a n o l e s , Las g u e r r a s , l a s v i c t o r i a s , y e l s a n g r i e n t o F u r o r d e M a rte . . . . To F ray J u a n F ern an d ez de R ojas f a l l s t h e t a s k o f r e f o r m i n g t h e S p a n is h sta g e :

Ii8 . . . ya es tiem po De p r o s c r i b i r l o s v i c i o s i n d e c e n t e s . Que manchan n u e s t r a e s c e n a . . . . E n s a lz a l a v i r t u d , p e r s i g u e e l v i c i o , y por inedio d e l s u s t o y de l a l â s t i m a , Purpja l o s c o ra z o n e s . . . In a c c o r d a n c e v i t h h i s p ro m ise t o J o v e ll a n o s t o d e d i c a t e h i s pen t o " g r a v e s i n a t e r i a s , " Pi’ay D iego b e g a n , i n th e same y e a r o f ITT^, h i s d i d a c t i c poem. Las e d a d e s .

A cc o rd in g t o th e p l a n s e n t t o him by

J o v e l l a n o s , t h i s v a s t o be a lo n g p h il o s o p h i c poem on t h e a g e s o f ma n , from in f a n c y t o o l d a g e .

F ray D iego co m pleted only t h e f i r s t p a r t ,

La n i h e z ; he had n e i t h e r t h e ti m e nor t h e h e a l t h t o c a r r y o u t J o v e l l a n o s ' gran d d e s i g n .

In d e e d , he may h av e been r e l u c t a n t t o u n d e r t a k e a work

so a l i e n t o h i s g e n i u s .

CSsar R e a l de l a Riva p o i n t s o u t t o v h a t an

e x t e n t J o v e l l a n o s m isu n d e rs to o d t h e p o e t i c im petus o f t h e Salamancan po ets : C u a lq u ie r a que s e a de v i s t a medianamente p e r s p i c a z com prendera f a c i l m e n t e que l a s reco rae n d acio n e s de J o v e lla n o s c o n s t i t u i a n un gra v e d e s a c i e r t o , que p a r a n ad a t e n i a n en c u e n ta e l o r i g e n , e l c a r a c t e r n i l a s c o n d ic io n e s de l o s p o e t a s de e s t a E s c u e l a . Ni e l e p ic u re is m o f a c i l y e l e g a n t e de f r a y Diego e r a e l ad ec u ad o p a r a l a p o c s i a f i l o s o f i c a , n i l a s e n s i b i l i d a d e x q u i s i t a de Melendez p a r a e s c r i b i r s o b r e tem as g u e r r e r o s , de l o s que h a b ia abominado c i e n v e c e s en sus g r a c i o s a s l e t r i l l a s , n i e l in g e n io y l a ag u d esa d e l p a d re R o ja s p a r a v e s t i r " e l c o t u r n o t r a g i c o " y r e s t a u r e r de e s t e modo l a e s c e n a e s p a h o la . E l p a t r i o t i s m e de J o v e l l a n o s aunado a su e s p i r i t u d i d a c t i c o y a su i n s e n s i b i l i d a d p o é t i c a , l e im pulsaban a e s o s campos como l o s mas id ô n e o s p a r a l e v a n t a r e l e s p i r i t u p u b l i c o y c o n t r i b u e r a l p r o g r c s o d e l a n a c io n . J o v e l l a n o s vas n o t t o t a l l y i n s e n s i t i v e t o l y r i c p o e t r y ; i n h i s Reglamento p a r a e.l c o l e g i o de C a l a t r a v a , J o v e ll a n o s s p e c i f i c a l l y r e ­ commends s e v e r a l o f t h e major l y r i c and e p i c p o e ts o f t h e s i x t e e n t h and s e v e n te e n th c e n t u r i e s :

G a r c i l a s o , H e r r e r a , R i o j a , E r e i l l a , th e

2^Real de l a R i v a , op. c i t . , p. 360.

k9

b r o t h e r s A r g e n s o la , "y s o b r e t o d o , a l mi.S!no f r a y L uis de Leon, e l prirnero y mas reco m en d ab le e n t r e to d o s ."^ -^ t h a t , a s E r n e s t Merimee p u t s i t ,

H is m i s t a k e was i n t h i n k i n g

" t o u s s o n t bons à t o u t " ; h e c o n fu sed

p o e t i c i n s p i r a t i o n w ith " l e m e t i e r , q u i p e u t s ' a p p r e n d r e en e f f e t , p u is q u e lui-même l ' a v a i t a p p r i s . Eut i f J o v e l l a n o s e r r e d in t r y i n g t o change t h e s t y l e and con­ t e n t of Salamancan p o e t r y , i t was o n ly b e c a u s e he f o r e s a w ch ang es in Spain t h a t would demand t h e a t t e n t i o n o f t h e b e s t S p a n is h m inds.

P re ­

o c c u p ie d as he was w i t h t h e p u b l i c g o o d , J o v e l l a n o s w anted t h e Salamancan p o e t s t o r e t u r n from A r c a d i a t o t h e f a s t - c h a n g i n g w orld o f th e l a t e e ig h te e n th cen tu ry .

Merimee c o n t i n u e s :

P e u t - Ê t r e J o v e l l a n o s a v a i t - i l "encore r a i s o n de c r o i r e q u e , dans l ' é t a t de l 'E u r o p e e t de l ' E s p a g n e , l e temps des B a t i l o , des D elio e t des A mintas f j o r n e r j é t a i t p a s s é , e t q u ' e n t r e l e s e n f a n t i n e s d i s t r a c t i o n s de c e s b e r g e r s em 'ubannes e t l e s p r é o c c u p a tio n s p u b l i q u e s , i l y a v a i t décid ém ent une d is c o r d a n c e t r o p c r i a n t e . La g ran d e v o ix q u i g r o n d a i t au l o i n c o u v r a i t t r o p l a f r ê l e chalum eau de ces A r c a d i c n s . ^ f Even a f t e r F ra y D i e g o 's d e a t h , J o v e l l a n o s , s t i l l s e e k in g a p a t r i o t i c a l l y i n p o e t r y , a s k s F ra y Ju an F ern a n d e z de R o j a s , "iY que? Poeina de l a s E d a d e s , iq u e d a r a s i n c o n t in u a d o r ?

El

Ya Vm. me e n t i e n d e .

"28

By t h e tim e o f F r a y D ie g o 's d e a t h , c o n d i t i o n s had changed g r e a t l y from what th e y had b een d u r in g t h e l a t t e r y e a r s o f C h a r le s I l l ' s r e i g n . In an e v a l u a t i o n of t h a t r e i g n , Q u in ta n a p r a i s e d t h e " q u in c e ahos de

2 5 j o v e l l a n o s , op. c i t . , p. I 9 6 . ^ ^ E r n e s t M érimée, op. c i t . , p . 221. 28

^'^I b i d .

J o v e l l a n o s , D:ia r i o s . E s tu d i o p r é lim in â t; de A ngel d e l R io . E d ic io n p v e p a ra d a p o r J u l i o Sornoza. 3 voluraencs (O viedo: I n s t i t u t e de E s tu d i o s A s t u r i a n o c , 1 9 5 3 ), V ol. I I , p . 2 ^ 8 , from p . 2^6, n . 1 .

50 in t e r m e d i o " t h a t Salam anca had e n jo y e d u n d e r C h a r l e s I I I ; , he c h a r a c ­ t e r i z e d a s a s t o n i s h i n g " e l in c ro m e n to que h a b i a n tornado l a s l u c e s " betw een t h e y e a r s I'fBO and 1790.

U n f o r t u n a t e l y , t h i s atm osphere d i s s i ­

p a t e d by t h e end o f t}ie c e n t u r y .

The d e a t h o f C h a r le s I I I in I'fBS

and. f e a r o f t h e F rench R e v o l u tio n c a u s e d i n S pain a r e t u r n to a b s o l u t i s m and a r b i t r a r y 3’u l e .

Q u in ta n a a s c r i b e s t h e a b u s e o f power in S p a in t o

a f e a r of id e a s: Habia c o i n c i d i d o l a inuerte de n u c s t r o C a r lo s I I I con l a s a l t e r a c l o n e s de F r a n c i a ; y cuando e r a n e c e s a r i o mayor d i l i g e n c i a en g o b e r n a r , mayor c i r c u n s p e c c i o n en c o n d u c i r s e , e n to n c e s se d i o l a s e h a l e n t r e n o s o t r o s a to d o s l e s c a p r i c h o s de l a a r b i t r a r i e d a d , â to d o s l o s d e s c o n c i e r t o s de l a i g n o r a n c i a y de l a in s e n s a t e # . El e s c a n d a lo de p o n er en c i r c u r . s t a n c i a s t a n d i f x c i l e s e l tim o n d e l E sta d o en manos de un f a v o r i t e s i n e d u c a c io n p o l i t i c a y s i n e x p e r i e n c i a /{Godov?, a c r c c e n t a b a la. m urm uracion y c l d e s c o n te n to , y e s t o s a su vez p r o d u c ia n e l encono y l a p e r s e c u c i o n . Y como l o s p rim e ro s y mas n o b l e s p a s o s de l a r e v o l u c i o n f r a n c e s a eran d eb id o s s in duda â l a s l u c e s y s d e l a n t a m i e n t o d e l s i g l o , l a a u to rid a d se puso cn un e s ta d o c o n s t a n t e de h o s t i l i d a d con e l s a b e r . Ya se h a b ia n s u p rim id o l o s p e r i c d i c o s que mas c r e d i t o t e n i a n por l a s v e rd a d e s u t i l e s que p ro p a g a b a n ; s e h a b i a r e t i r a d o poco a poco l a p r o t e c c i o n y fom ento quo se ^ d a b a â l o s e s t u d i o s ; s e o ia n d e l a c i o n e s , se sembraban d e s c o n f i a n z a s . ' T h i s S p an ish v e r s i o n of t h e F ren ch T e r r o r s t i f l e d i n t e l l e c t u a l a c t i v i t y i n M adrid and S ala m an ca.

The U n i v e r s i t y l o s t i t s v i g o r and i t s n o b le

y e n c e u d id a c u r i o s i d a .d ; i t s a m p litu d do e s p i r i t u gave way t o n a rro w n e ss o f mind.

In 1795, t h e y e a r a f t e r F r a y D i e g o 's d e a t h , J o v e ll a n o s p a s s e d

th r o u g h Salam anca; h i s D i a r i o s b e a r w i t n e s s t o t h e i n t e l l e c t u a l d e c l i n e o f t h e o f f i c i a l U n i v e r s i t y and t o t h e i n t e r e s t on t h e p a r t of t h e s t u ­ d e n t s i n s t i m u l a t i n g b u t h e r e t i c a l f o r e i g n b o o k s: Toda l a ju v e ritu d s a l a m a n ti n a es P o r t - r o y a l i s t a . . . O b s t r a e c t , Z u o la, y s o b re to d o Tainburini an d an en manos de t o d o s . Has de 3000 e j e m p la r e s h a b i a y a quando v i n o su p r o h i b i c i o n —uno s o l o

^^Manuel J o s e Q u in ta n a , " W o tic ia h i s t o r i c a y l i t e r a r i a d e M e le n d e z ," p . I l 6 .

51

s e e n t r e f j ô . . . . E s to da e s p e r a n z a de quando ln,s C a te d r a s y g o b ie rn o de l a nueva g c n e r a c i o n . Cuando manden l o s o t r a r e f o r m s é r i a v an a. Corao l a de en l a u l t i m a corrupcion.-^O

que s e m e jo re n l o s e s t u d i o s , U n iv e r s id a d e s t é n en l a que- o b e d e c e n . C u a lq u ie r a lo s f r e i l e s . Los de C a l a t r a v a ,

By 1 7 9 5 , Caïarnanca liacl cc-ased t o be t h a t " c e n t r o d e a p l i c a c i o n y de s a b e r , " a s Q u in ta n a c a l l e d i t , t h a t had welcomed good books from e v e ry ­ w h e re , i n c l u d i n g t h e F ra n c e o f th e ph i l o s o p h e s .

F ra y Diego had once

p r a i s e d V o l t a i r e , c a l l e d him "aque], gj'an g e n io " a n d a d d in g t h a t t r u t h m ust be h o n o re d and m e r i t a p p la u d e d , even when f o u n d "en l o s h i j o s de l a s t i n i e b l a s . "31 lihen F a t h e r F ern a n d e z w rote h i s p r e f a c e t o t h e 1796 e d i t i o n o f F r a y D i e g o 's p o e t r y , he gave as h i s r e a s o n s f o r p u b l i s h i n g t h e work o f h i s f e l l o w A u g u s t i n i a n t h e demands o f F ra y D ie g o 's " a p a s io n a d o s " and t h e demands o f f r i e n d s h i p , which c o u ld n o t lo o k w i t h i n d i f f e r e n c e upon t h e b u r i a l o f F ra y D i e g o 's name.

F a t h e r F ern an d ez ackno w ledg es, how ever,

t h a t he h a d r e f r a i n e d from p u b l i s h i n g h i s c o l l e c t i o n e a r l i e r o ut o f f e a r t h a t t h e u n in fo rm e d would c r i t i c i z e i t m e r c i l e s s l y : Conozco, L e c to r amado, que en un tiem po en que t a n t o s e c r i t i c a , y en que t a n poco s e produce de o r i g i n a l , es a r r i e s g a d o p r e s e n t a r a l p u b l i c o l a s o b r a s d e l d u lc îs im o P o e ta e l M. F r . D iego G onzalez. R e p e t i d a s v e c e s d esd e e l a c ia g o i n s t a n t e en que s e d c s a p a r e c io de rais o j o s , h e e s t a d o d e c i d id o â d a r l a s â l a l u z p û b l i c a , y o t r a s t a n t a s me h a d e t e n i d o l a i n j u s t i c i a que veo u s a r con n u e s t r o s L i t e r a t o s d e m é r i t e . Tod.o qu anto s e produ ce en Espana l e s p a r e c e

Q uoted by E d i t h îîelraan, "Some con seq u en c es o f t h e P u b l i c a t i o n o f t h e J nfcvmc de l e y a g r a r i a by J o v e l l a n o s , " E s t u d i o s h i s p a n i c o s ; hoiiienajc a A r c h e r M. H u n tin g to n ( W e l le s le y , M ass.: W e lle s le y C o lle g e , 195P)» p . 2 5 9 , u . l i | . O b s t r a e c t and Z u o la a r e unknow n. I'am burini : Totmnaso T ara b u rin i (1591-1675) I t a l i a n m o ral t h e o l o g i a n , J e s u i t , p r o ­ p o n en t o f P r o b a b i l i s r a ; s i x t y - f i v e o f h i s p r o p o s i t i o n s on t h e i n t r i n s i c o r e x t r i n s i c n a t u r e o f p r o b a b i l i t y were condemned b y t h e Holy O ffic e i n 1 6 7 9 . — E riciclo p ed .ia I t a l i a n a . 3 1 c u e t o , p. CCI, n. 2.

52 â algun os enganados y poco i n s t r u i d o s E s p a n o l e s , que es s u p e r ­ f i c i a l , m i s e r a b l e y digno de d e s p r o c i o . P o r e l c o n t r a r i o , es t a l su p r c o c u p a c io n que apenas oyen e l nombre de un e x t r a n g e r o q u a l q u i e r a , que s i n mas examen c a l i f i c a n de s u p e r i o r e a su s o b r a s ; como s i l o s t a l e n t o s no p u d ie ra n p r o û u c i r s e en Espafia, 6 corao s i l o s e x t r a n g e r o s p c s e y e r a n e x c lu siv a m e n te l a S a b i d u r i a . 3 2 N e v e r t h e l e s s , he p u b l i s h e s h i s c o l l e c t i o n ou t o f a s e n s e o f p a t r i o t i s m and a sense o f d u ty t o p o s t e r i t y , u h ic h he f e e l s w i l l be g i- a t e f u l t o him f o r g a t h e r i n g and .p re s e r v in g th o s e works so d e s p i s e d by t h e i r OTO a u t h o r .

op

Juan F ern a n d e z de R o ja s , "Al que l e y e r e . "

CHAFTER V

THE POETRY

The p o e t r y o f I'ray Diego Tadeo G on zale z, a s p u b l i s h e d i n th e M adrid e d i t i o n o f l 8 l 2 , t h e V a le n c ia e d i t i o n o f 181T, and Volume 6 l o f t h e B i b l i o t e c a de A u to re s E sp an o les ( 1 8 6 9 ) , i s as f o l l o v s :

f o r re a s o n s

o f c o n v e n t io n , t h e p o e t r y i s f i r s t l i s t e d a c c o r d in g t o g e n r e ; second, by s u b j e c t m a t t e r ; t h i r d , each poem i s examined from t h e p o i n t o f view o f c o n te n t, h i s t o r i c a l or au to b io g rap h ic al a p p lic a tio n , r e la tio n s h ip t o o t h e r poems, a n d , b r i e f l y , m e t r i c s and s t y l e .

A more d e t a i l e d

e x a m in a tio n o f F ray D ie g o 's styJ.e w i l l fo llo w i n t h e n e x t c h a p t e r . E g lo g as: L l a n to de D e lio y p r o f e c i a de K anzan ares E gloga con inotivo de l a e x a l t a c i o n a l t r o n o y p ro c la m a c io n de n u e s t r o a u g u s to soberano C a rlo s IV (U n f in is h e d ) D e l i o y M e lis a (Changed i n BAE t o D e lio y M i r t a ) , Odas : A l a s n o b le s a r t e s iP o r quo t a n r i g u r o s o . . . ? A L ise n o Al p e n s a m ie n to

(U n title d )

In v e c tiv a : E l m u rc ie la g o a le v o s o C an cio n es: V i s io n e s de D e lio Al Rio G u a d a le ie

53

E l t r i u n f o de M anzanares Cadi z tr a n a f o r m a d o A V e c in t a desderiosa A M e lis a A M e lis a . Suefios Poeiiia. d i d a c t i c o : Las edades T r a d u c c io n e s : T ra d u c c io n T r a d u c c io n T ra d u c c io n T r a d u c c io n T r a d u c c io n T ra d u c c io n

del del deJ. del del del

Salmo V I I I Saliiio XI Ijiimio Ye n i , C r e a to r c a n t i c o M a g n if i c a t hiifino Te Deum e p i t a . f i o l a t i n o que e l Bemlo h i z o â R a f a e l

T erc eto ;; : D e l i o , en l a g r a n j a Q u in tilia : A Don L a r t o l o ^ e Vazquez O ctav a s: A u n a p i n t u r a c o n f u s a de l a g l o r i a C ensura de unos s o n e to s a c r o s t i c o s Décimas : A l a noche P in tu r a deseada A una senora S o n e to s: A un o r a d o r A l a paz Endechas: A M irta , au sen te Endeclias a n a c r e o n t i c a s

^The c l a s s i f i c a t i o n "Endechas a n a c r e o n t i c a s " i s t a k e n from Fernando L a z a r o , "La p o e s i a l i r i c a on Espana d u r a n t e e l s i g l o XVIII;

55 En l o s diar: de L i s i A L i s i , m a lasu en a A l a queraadura d el dedo de F i l l s O th e r s : l l i s t o r i a de D e lio S a t l s f a c c i o n d e l G enii E l diganios, 6 e l an^or, de H ireo E xojiiination o f th e p o e t r y v i l l b e a c c o r d in g t o s u b j e c t m a t t e r , d i v i d e d a r b i t r a r i l y as f o l l o v s : I .

Au [•-ob i 0 g r s r b y :

K i s t o r i a de D e lio II.

In v e c tiv e :

E l m u r c i e l a g o a lev o so III.

C iv ic p o e t r y :^

L l a n t o de D e lio y p r o f e c i a d.e M anzanares A ] a paz E g lo g a con m o tiv o de l a e x a l t a c i o n a l t r o n o (de C a r lo s IV) . IV.

Love p o e t r y :

Al. p e n s a m ie n to C ad iz tr a î i s .f ormado V i s i o n e s de D e lio A V e c i n t a desderiosa Al R io G u a d a le te E l t r i u n f o de Manzanares E g lo g a . D e lio y M irta A M e li s a . Cancion A M e li s a . Suefios T e r c e t o s . D e l i o , en l a g r a n j a E n d ec h as. A M ir ta a u s e n te A L ise n o Ell l o s d i a s de L i s i

La l i r i c a s a l a m a n t i n a , " H i s t o r i a g e n e r a l de l a s l i t e r a t u r e s h i s n a n i c a s , V ol. IV, S i g l o s XVIII y XIX, P r im e r a P a r t e . P u b lic a d a b a j o l a d i r e c c io n de D. G u ille rm o D i a z - P l a j a ( B a r c e lo n a : E d i t o r i a l B arn a, 1 9 5 6 ) j p. 75. ^The c l a s s i f i c a t i o n " c i v i c p o e t r y " i s s u g g e s te d by Monguio, o p . c i t . , p. 2 5 6 .

56 A L i s i , m alag u en a A l a qaem adura d e l dedo do F i l i s Y.

S a ti r ic p o etry :

' E l diganios, 6 e l amor, de Mireo A un o r a d o r C ensura de unos s o n e to s a c r o s t i c o s A una p i n t u r a c o n f u s a de l a g l o r i a A una s e n o r a VI.

On t h e A rts :

A l a s n o b le s a r te s P in tu ra deseada A l a noche A Don B artolon ie Vazquez T ra d u c c io n d e l e p i t a f i o l a t i n o cue e l Beinbo h i z o a R a f a e l VIT.

D id a c tic p o e try :

Las edades V III.

R e lig io u s p o e try :

S a t i s f a c c i o a d e l G e n ii iP o r que t a n r i g u r o s o . . . ? T ra d u c c io n d e l Sai.mo V III T ra d u c c io n d e l Salmo XI T ra d u c c io n d e l liimno Te Deuvn T r a d u c c io n d e l himno V eni, C r e a t o r T ra d u c c io n d e l c a n t i c o T i a g n if ic a t In t h e B/Æ e d i t i o n , t h i s p o e t r y a p p e a r s on pages 1 01-203; t h e l o c a t i o n o f eac h poem v i l l h e g iv e n and q u o t a t i o n s v i l l be i d e n t i f i e d by l i n e . I.

A u to b io g r a p h y . " H i s t o r i a de D e lio " (pp. I 88- I 8 9 ) .

Fray D ie g o 's v e r s e a u t o ­

b io g r a p h y owes much t o tv o e a r l i e r e p i s t l e s from J o v e l l a n o s : de J o v in o " and " J o v i n o â sus amigos de Salam anca" (1 7 7 6 ).

"llisto ria

In th e f i r s t

e p i s t l e , J o v e l l a n o s d i r e c t s h i m s e l f t o y d r e o . F ray M iguel de M ir a s , a c o n t e r t i i l i a n o a t t h e S e v i l l a n t e r t u l i a o f Don P ab lo de O la v id e : M ireo, p u e s t e p l a c e Que s e p a e l c a r o D e li o Mi p r o f e s i o n , mi nom bre.

57 Hi. p a t r i a y inis s u c e s o s , A p lic a te un i n s t a n t e A ver e s te d isen o , De in g e n io y a r t e e s c a s e , S i de v e rd a d e s l l e n o . C ifra d a en b r è v e s p u n to s Mi h i n t o r i a v e r â D e li o ; V e râ la s in asombro, P ero tambien s i n t e d i o . 3 A f t e r n a r r a t i n g h i s l i f e » in th e c o n v e n t i o n a l te n n s and images o f p a s t o r a l p o e t i'y , J o v e l l a n o s e x t r a v a g a n t l y p r a i s e s t h e t a l e n t s and i n ­ s p i r a t i o n o f F ra y D ieg o , c a l l i n g him t h e e q u a l o f F r a y L uis de Leon and c r e d i t i n g him w i t h r e v i v i n g S panish p o e t r y : . . . D e lio , a q u e l que supo Con tan sono ro p l e c t r o La i n t c g r i d a d a u g u s t a Loar de t u s d e c r e t o s ; ( t u s : de Temis) A D elio, que, in fla ra a d o Con e l d iv i n o fuego Que l e i n s p i r e t u nûmen, •Dxtiende po r e l v i e n t o E l t r i u n f o de l o s s â b i o s M in is tr e s de t u te m p le ; A D elio , a l h i j e i l u s t r e , Imâgen y h e r e d e r o Del gran Léon, t u alumno, Tu g l o r i a y t u r e c r e o . iOh genio p e r e g r i n e 1 Oh honor, oli pires, oh g l o r i a De l o s p r é s e n t é s ti e m p o s ! .Ya l a s h i s p a n a s m usas, Que en hondo y v i l d e s p r e c i o Y acian, p o r t i v u e lv e n . A su e s p le n d o r p rim e r o . F ray Diego b e g i n s h i s a u to b io g ra p h y viith p r i a s c o f J o v e l l a n o s ' l i n e a g e and e x t r a v a g a n t p r a i s e o f t h e man h i m s e l f ( l i n e s 1-H, 1 )4- 1 6 ): J o v in o , d o scen d id o 3 J o v e l l a n o s , " l i i s t o r i a de J o v i n o , ’ Obras p u b l i c a d a s e i n ­ é d i t e s ; c o l e c c i o n h e c h a e i l u s t r a d a p o r D. Caiidido N o ced al. Tome P r im e r o , BAE )i6 (M adrid: M. R iv a d e n e y ra , I 8 58) , p. 5^ Xb id. , p . 7 .

58 De c l a r o s y a l t o s r e y e s , Que d e l b a r b a r e yugo r e d im ie r o n Al f i e l pueblo o p rim id o . . . . J o v in o j g l o r i a mi a ; J o v in o , mi Jo vino (ilombre en mi b o c a , c u a l l a m i e l , s a b r o s a ) . . . He th e n d i s c l o s e s h i s own humble o r i g i n :

h i s f a t h e r descend ed from

t h e s e who t i l l t)ie s o i l ( l i n e s 2 7 -2 9 ): De l o s que en l a r i b e r a Del Duero con f a t i g a Roinpen con corvo a r a d o e l duro sueJ o . . . F ray D ie g o 's m o th e r , known i n t h e poem by t h e p a s t o r a l name o f T em isa, d ie d w h ile t h e p o e t was v e r y young, to o young t o comprehend th e f a c t o f d e a th ( l i n e s 4 6 - 5 2 ) : . . . l a F a rc a im pia Con terupi'ana t i j e r a C orto e l h i l o p r e c i o s o ; Y m i e n tr a s e l cspo so Dio a l cad a v er l a h o n r a p o s t r i m e r a Con t r i s t e l l a n t o y l u t e , El h i jo l o m iro con r o s t r o e n j u t o . Wien F ra y J u a n Fernandez de Rojas s a i d " . . .

s i n t i o Gonzalez

l a s h e r i d a s de amor c a s i a l mismo tiempo que l o s e n c a n to s de lo s v e r s o s , " ho may h ave had i n mind th e f o l l o w i n g l i n e s o f F ray D ie g o 's a u to b io g r a p h y ( 6 6 - 7 1 ) : A ntes que e l nuevo d i a De l a raao n r a y a s o Sobre e l animo i n c a u t o , y a Cupido Conq u i 5ta d o t e n i a El pecho, en cue r e i n a s e Con mas iin p erio que su madré en Gnido. F ray D ie g o 's f i r s t lo v e was f o r " l a h o n e s t a M e l i s a ," one o f th e l a d i e s m e n tio n ed in h i s p o e t r y , b u t whose i d e n t i t y i s n o t known.

The p o e t

g iv e s t h i s d e s c r i p t i o n o f M e lis a and o f h i s lo v e f o r h e r ( l i n e s 7 9 -9 1 ):

La de lo s negros o j o s ,

59 La de lu e n g a s p e s ta f i a s . Sin p a r herm osa y a l a p a r d i s c r e t a ; Causadora de e n o j o s . De a s a z d u ras e n t r a n a s . Que de amor no doino c r u d a s a e t a . A t a l fie r a su je ta El anima y r e n d i d a , Amaba a r d i e n t e m e n t e , Amaba t i e r n a r ’. e n t e , Amaba s i n templan%a y s i n m edida; Amaba, en f i n , de modo, Que aun ah o ra a l r c c o r d a r l o tie m b lo to d o . F ray Diego

as moved by t h i s lo v e t o w r i t e p o e t r y ( " c a n t e a m o ro s o " ),

b u t he c o n f e s s e s t h a t h i s v e r s e s w ere withouL i n s p i r a t i o n ( " S i n . . . Kuraen n i in fla iria c io n " ). A s p i r i t u a l c r i s i s d e te rm in e d F ra y D ie g o 's v o c a t i o n as a p r i e s t b u t d id n o t tem per h i s a v o c a tio n as an amorous p o e t .

He aclmowledged

t h a t h i s p a s s i o n s were " lo c u r a " and he th o u g h t t h a t mundane lo v e u o u ld become " c e n i a a f r i a " whenever he s h o u ld t a k e r e l i g i o u s vows.

In f a c t ,

h i s r e l i g i o u s h a b i t o nly removed him from th e r i g o r s o f l o v e ; i t did no t a l t e r th e n a tu re of h is p o etry .

The p o e t h i m s e l f e x p r e s s e s rem o rse

a t h i s w eakness ( l i n e s IAH-I5 6 ): iOhl i s i no s e e n t i b i â r a En e l pecho m esquine El a l t o fuego de que f u é in fla m a d o ! Quizâ rai vo% s o n a r a En c a n t i c o d i v i n o . Sobre e l T abcr 6 e l G o lg o ta s e n ta d o . Pero aunque â son s a g ra d o De l a c i t a r a mia Las c u e rd a s a r r e g l a b a , Y â v e c e s l a s mudaba, Amores solarae n te r e s p o n d i a ; Y a s i , c a n t é de ar:oi e s , Sin s e n t i r de Cupide l o s r i g o r e s . The p o e t t h e n r e c o u n t s t h a t h e san g

th e p ra is e s o f J u lia , " n in fa

hum ilde d e l H e n a r e s ," o f Guraersina, " N in f a t a n d e s g r a c i a d a como l i n d a , " and o f " l a d i v i n a M i r t a ."

And so he would have c o n t i n u e d , h a d h e n o t

60 r e c e i v e d an e p i s t l e from J o v e l l a n o s , who e n j o i n e d him t o d e d i c a t e h i s song t o h i g h e r e n d s .

The f o ll o w i n g l i n e s d e s c r i b e F ray D ie g o 's

im petuous r e a c t i o n (1 8 6 -1 9 5 ): Y a s i , p o r to d o s u e lo Mi c i t a r a m ezquina E ternam en te amores r e s o n a r a . Si a y e r no l a a r r o j a r a Con i r a de mi pecho Al T onn es, que i b a h in c h a d o , T urbio y a p r e c u r a d o ; J u s ta m e n tc raovido â t a n t o h e c h o , De l e e r eu id a d o so De J o v in o e l ensueho p r o d i g i o s o . The "en su eh o p r o d i g i o s o " i s an a l l e g o r i c a l dream i n w hich J o v e l l a n o s f o r e t e l l s t h e o b l i v i o n o f t h e Salam ancan p o e t s u n l e s s t h e y tu n e t h e i r l y r e s t o " c a n t a r e s e u c a r i s t i c o s ."

A fte r re c o u n tin g th e h o rro rs o f

h i s dream , J o v e l l a n o s a s k s , " . . . S ie m p re , s ie m p re D arâ e l amor m a t e r i a a n u e s tro s can to s? "

He t h e n p r e s c r i b e s f o r F ra y D ieg o , Melendez

V a ld e s , and F ra y Ju a n Fernandez de R ojas s u b j e c t s w hich h e c o n s i d e r s b o th w orthy and s u i t a b l e t o t h e i r v a r i o u s t a l e n t s .

F ray D ie g o 's

r e s p o n s e i n h i s own H i s t o r i a i s as e f f u s i v e as was J o v e l l a n o s ' e a r l i e r p r a i s e f o r D e li o ( l i n e s 1 9 6 -2 0 7 ): iOh sueho p ie re g rin o l iOh asombro l a s t i r a o s o l IOh v e r d a d d i s f r a z a d a s a b ia m e n te l IOh s o n ad o r d iv i n o I iOh J o s e f m i s t e r i o s o l I’d e n s e n a s , t u r e p re lie n d e s d u lc e m e n te ; Tu podero sam ente E l sueho s a c u d i s t e . En que s ie m p re y a c i e r a n , Y s i n g l o r i a m u r ic r a n B a t i l o , con L ise n o y D e lio t r i s t e - . Mas s a b c s t u sonando Que to d o s t u s amigos a f a n a n d o . The pioem ends w ith F ra y D ie g o 's d e c l a r a t i o n t h a t t h e t h r e e Salamancan p o e t s w i l l g l a d l y he t h e " c o n q u i s t a " o f J o v in o * s p o w e r fu l v e r s e

61

( l i n e s 233-23%): Pues ique m e jo r d e s t i n e Que s e r l o s t r e s e l t r i u n f o de J o v in o ? II.

In v e c tiv e . " E l m u r c i e la g o a le v o s o " (pp. I 86- I O 7 ) .

Leon V e rg e r p u b l i s h e d

in t h e Revue H is n a n iq u e (1917) a copy o f " E l m u rc ie la g o a le v o s o " which he b e l i e v e d t o be more f a i t h f u l t o t h e o r i g i n a l th a n t h e v e r s i o n pub­ l i s h e d by F a t h e r F e rn a n d e z de R o ja s.

Of t h i s famous poem and i t s a u t h o r ,

M. V e rg e r w r o t e : On p e u t , s a n s s e v c r i t e , r e c o n n a î t r e q u ’ i l f u t l o i n d ’ e t r e un g ra n d p o è t e , mais une de s e s p o e s i e s , E l M u rcielag o a l e v o s o , f u t c é l è b r e — l e mot n ' e s t pas e x a g é r é . Le t e x t e que nous en ont t r a n s m i s l e s é d i t i o n s e s t , c r o y o n s - n o u s , lé g è re m e n t é c o u r t é et a lté r é . ^ I t w i l l be r e c a l l e d t h a t F a t h e r F ern a n d e z h ad s a i d t h a t he h ad p u t Fra.y D i e g o 's works i n o r d e r , c l a s s i f y i n g them "segun su e s p e c i e " ; he a l s o s a i d t h a t he was p r e s e n t i n g t h e s e works " p u r i f i c a d a s y n e t a s . " M. V erg er c o n t i n u e s : C e t te " p u r i f i c a t i o n " avouée n ’ e s t p as s a n s i n s p i r e r des r e g r e t s , c a r ce que nous v o u d r io n s c ' e s t l e t e x t e du p o è t e e t non l e t e x t e r e t o u c h é , q u e l l e que p u i s s e ê t r e l a p i é t é des r e t o u c h e s . Dans un m a n u s c r i t de l a f i n du LV IIIe s i è c l e j ’ a i tr o u v é une c o p ie du M u r c ie la g o a l e v o s o q u i c o n t i e n t une s t r o p h e de p l u s que l e t e x t e im prim é e t q u e lq u e s v a r i a n t e s . J e s e r a i s p o r t é à c r o i r e que c e t t e c o p i e e s t pi.us f i d è l e que l ' é d i t i o n F e r n a n d e z , en ce sens q u e , n ' a y a n t p as é t é p u r i f i c a d a , e l l e nous donne v ra is e m b la b le m e n t l e t e x t e o r i g i n a l , l e s e u l q u ' i l nous im p o rte de c o n n a î t r e . 6 The V e rg e r t e x t c o n t a i n s I 60 l i n e s i n tw e n ty s t a n z a s ; th e F ern an d ez ( BAE) t e x t , 152 l i n e s i n n i n e t e e n s t a n z a s .

V a ria n t re a d in g s,

i n c l u d i n g v a r i a n t s from t h e l 8l 2 and I 817 e d i t i o n s , a r e as f o ll o w s ;

^Leon V e r g e r , " E l m u rc ie la g o a l e v o s o , " Revue H i s p a n i q u e , 39 ( 1917 ) , p . 29 %.

^I b i d . , p. 295.

62 L in e s 1 - 8 , V e rg e r: E s ta b a M i r ta herm osa componiendo una no ch e en su a p o s e n to con su b e l l e t a l e n t o u n a can c io n muy t . i e r n a y am orosa que reîT iitir a D elio in e d ita b a ( e l que a u s e n te s e h a l l a b a ) , y en el].a dulcem ente e n c a r e c i a e l fuego que en su c a s t o pecbo a r d i a . The BAE t e x t d i f f e r s in a l l b u t t h e l a s t l i n e : E s ta b a M i r ta b e l l a C i e r t a noche formando en su a p o s e n to . Con g r a c i o s o t a l e n t o , Una t i e r u a c a n c io n , y porqu e en e l l a S a t i s f a c e r â D elio n ie d ita b a . Que de su f e dudaba. Con vehem ente e x p r e s io n l e e n c a r e c i a E l fuego que en s u c a s t o pecho a r d i a . L ine 13, V e r g e r: L in e 13 , BAE::

"to ra io , clam o, d io voces : v i n o g e n te "

"Temiô, g iraio , dio v o c e s , v in o g e n te "

L ine 25> V e rg e r: L ine 2 5 , B.AB:

"Yngerto de ave y b r u t o "

"Oh raonstruo de ave y b r u t o "

L in es 33-Uo o f t h e Verger t e x t make u p t h e s t a n z a t h a t i s m is s in g i n t h e BAE: Quando e l A g u ila p a s a y a l s o l l l e v a d e re c h o su v i a g e , do e l r i z a d o plumage s e chamusea t a l v e z s i no s e a b r a s a , y a l i i contem pla a t e n t a r e s p l a n d o r e s y en s a b e r sus a r d o r e s l o g r a su d i v e r s i o n y co m p la c e n c ia , como o sas p a r e c e r en su p r e s e n c i a ? L ine 48,

I 8 l 2 : "Wo p c rr a ita un m osquito a t u a l i e n t o "

L in e 48,

l 8 l T , and BAE; l i n e 56, V e r g e r :

L ine 5 8 , V e r g e r : L in e 50,

BAE:

" a t u a lim e n te "

" t r a s e l t a p i z donde t i e n e s t u manida"

" T ra s e l t a p i z do t i e n e s t u m an ida"; BAE re d u c e s t h i s

v e r s e t o e le v e n s y l l a b l e s i n c o n f o r m i ty w ith t h e b a s i c v a r i a t i o n o f s e v e n - an d e l e v e n - s y l l a b l e l i n e s .

63 L in e 71, V erger: L in e 6 3 , M E:

"y e l e s p in a z o e n c o r b e , y su ba a l c i e l o "

"Y e l e s p i n a z o en a r c o suba a l c i e lo "

L in es 9 3 - 9 6 , V e rg e r: que a to d o s l e s d o to N a tu r a l e z a de e n t r a n a s de f i e r e z a , h a s t a que y a l a edad y l a c u l t u r a l e s dszi hum anidad y mas c o r d u r a . L in e s 8 9 -0 8 , BAE ; t h e i d e a o f " t o them" i s changed t o " t o u s " : Que a to d o s nos d o to n a t u r a l e z a De e n t r a n a s de f i e r e z a , H a s ta que y a l a ed ad 6 l a c u l t u i ’a Nos dan huinaniuad y mas c o rd u ra . Til i s v e r s i o n a l s o s a y s t h a t man can become more humane th r o u g h m a t u r i t y or_ c u l t u r e j th e V e rg e r t e x t i s more s t r i n g e n t i n t h a t i t s p e c i f i e s m a t u r i t y and c u l t u r e . L ine l l 6 . V erger: L in e 1 08, BA.E:

"y p a l o s p o r l o s cabos aguzados"

"De p a l o s p o r l o s cabos a f i l a d o s "

Both o f t h e s e l i n e s a r e p a r t i c u l a r l y hai'sh in sound; b o th v a r i a n t s s u f f e r from th e r e p e t i t i o n o f a-o . L in e 1 2 2 , V erger: L in e l l 4 , BAE:

" te ra a rtille n "

L in e 1 28, V erger: L in e 1 2 0 , BAE:

" t e d e s t r o z e n , corifundan y a t u r r u l l e n "

"Te d e s h a g a n , con fun dan y a t u i 'r u l l e n "

L in e 1 3 0 , V erger: L in e 1 2 2 , B/Æ:

" te a m a r tille n "

"de l a s v i e j a s , te n i c n d o p o r v e rd a d e s"

"De l a s v i e j a s creyerido r e a l i d a d e s "

L in e 1 3 3 , BAE, r e p e a t s a m i s p r i n t from th e l 8 l 2 and I 817 e d i t i o n s : "Y o t r o s , f i n g i o n d o v ece s l a s t i m e r a s " L in e l l j l .

V erg er:

L in e 1 ^ 8 , V erger: L in e 1 ^ 0 , BAE:

"y o t r o s f i n g i e n d o voces l a s t i m e r a s " "y a s i t e den d e b id a s e p u l t u r e "

"Y a l i i t e den d e b i d a s e p u l t u r a "

64 Line 157, V e rg e r : Line l 4 9 , BAE:

"Ho s i g a s , cam in an te presnroG o"

"No s i g n s , c a m in a n te , p r e s u r o s o "

The e n d u rin g a t t r a c t i o n o f " E l m u rc ie la g o a le v o s o " i s due t o i t s la n g u a g e and s t y l e .

In t h i s poem. Fray Diego w r i t e s i n a p u r e l y

S panish v e i n , w i t h o u t r e c o u r s e t o p a s t o r a l la n g u a g e o r im ag ery .

It

i s t h i s S p an ish n esK , t h i s r a p i d flovr o f la n g u a g e and in g e n io u s i n v e c t i v e t h a t h as a s s u r e d t h e p o p u l a r i t y o f " E l m u r c ie la g o a le v o s o " e v e r s i n c e i t s f i r s t appearance. triv ia l:

The s u b j e c t m a t t e r o f t h e poem i s i n i t s e l f

t h e p o e t w ish e s upon a b a t a s e r i e s o f g r i s l y t o r t u r e s and

u l t i m a t e l y d e a th a t t h e hands o f a b and o f u r c h i n s .

Such a theme m ig ht

n o t a p p e a r t o be a f i t s u b j e c t f o r p o e t r y , b u t t h i s i s n o t s e r i o u s p o e t r y , n o r i s i t i n t e n d e d t o b e . '' I t i s , i n P r o f e s s o r M onguio's w o rd s , . . . a s o r t o f m o c k -h e ro ic p i e c e , i n which G onzales combines th e e x p r e s s i o n o f h i s a f f e c t i o n f o r M irta w ith a t r u l y comic, ir o n ic re a lism . Some o f i t rem ind s one o f Q uevedo's b u r l e s q u e poems, minus th e g r e a t s a t i r i s t ' s s c a t o l o g y . The l i t e r a t e S p a n is h p u b l i c , o u t s i d e t h e c i r c l e o f s p e c i a l i s t s , remembers F a t h e r G onzalez f o r t h i s one poem o n l y , and even t h e s p e c i a l i s t s a g r e e t h a t i t i s one o f h i s most s u c c e s s f u l o nes. I n i t we s e e G o n z a le z 's v o c a b u la r y a t i t s most " c a s t i z o , " h i s v e r s i f i c a t i o n a t i t s most l i v e l y , h i s im agery a t i t s most v a r i e d and a p p r o p r i a t e , h i s p e r s o n a l i t y a t i t s most a f f e c t i o n a t e , s m i l i n g , and homely. Through r e a d i n g t h i s poem we can u n d e r s ta n d how h i s c o n te m p o r a r ie s fo un d F a t h e r G onzalez always as "sim ip atico" as th e y d e s c r i b e him . ' F ray D ie g o 's c o n te m p o ra r ie s a l s o found him t i m i d and l a c k i n g i n se lf-c o n fid e n c e .

B ut b e h in d h i s u n im p r e s s iv e p h y s i c a l a p p e a ra n c e

t h e r e was a r e f i n e d s e n s e o f humor and an a c u t e s e n s e o f t h e r i d i ­ culous.

F a t h e r F ernand ez de P o ja s p o i n t s o u t t h e c o n t r a s t betw een

F ray D ie g o 's a p p e a ra n c e and h i s manner o f s p e a k in g : Con s u s e m b la n te t r i s t e , racditabundo y r a a c i l e n t o , p o s e i a una s a l a t i c a p a r a s a z o n a r s u s c o n v e r s a c i o n e s f a m i l i a r e s , que p o n ia

^Monguio, op. c i t . , pp. 255-256.

65 a â m ir a c io n . 0 no h a b i a de e n c o n t r a r c l m a e s tr o de l a le n g u a y to d a s l a s y d i v e r t i do s u t r a t o , y

de t e n e r una c o s a r i d a c u l o , 6 s e l o h a b i a G o n z a le z ; y como p o s e i a e l co n o cim ie n to g r a c i a s de l a e x p r e s i o n , h a c i a amable a l mismo tiem po i n s t r u c t i v o . . . ^

Cueto adds t h e t , i n s p i t e o f F r a y D ie g o 's t i m i d n a t u r e and s c r u p u lo u s c o n s c ie n c e , he d i d n e t f e a r " i n t e r p r e t a c i o n e s a v e n t u r a d a s " when he a d d re s s e d t o M i r t a t h i s c e l e b r a t e d i n v e c t i v e , w hich i s , i n C u e to 's o p in i o n , "un r i s u e h o te s t iir i o n io de ].a g a l a n t e r i a r n i s t i c a y d e l i c a d a que no h a b i a de emp-Jiar su c a r a c t e r s a g ra d o . In s p i t e o f i t s s u b j e c t — t h e supposed s u f f e r i n g o f an anim al— t h e t o n e o f " E l m u r c i e la g o a l e v o s o " i s b a s i c a l l y a f f a b l e ; l i t e r a r y h i s t o r i a n s uho s i n g l e o u t t h i s poem, as a m a n i f e s t a t i o n o f t h e S p a n i a r d 's i n n a t e c r u e l t y and i n d i f f e r e n c e t o s u f f e r i n g m iss t h e fo c u s o f th e poem, which i s i t s d e s c r i p t i v e la n g u a g e . b r i l l i a n t in t h e i r v iv id n e ss.

Most o f th e s c e n e s d e s c r i b e d a re

To any who w ould o b j e c t t o t h e r e a l is m

o f th e poem, i t n eed o n ly be p o i n t e d o u t t h a t a l l t h e m i s f o r t u n e s d e s c r i b e d a r e o n ly what t h e p o e t would w ish upon t h e b a t , n o t a d e s c r i p t i o n o f w^hat a c t u a l l y b e f e l l i t . a r e o n ly h y p o t h e t i c a l .

I n o t h e r w o rd s, t h e t o r t u r e s

And, r a t h e r th a n p ro v e t h a t a l l S p a n ia r d s a r e

c r u e l , t h i s poem p r o v e s t h a t one p a r t i c u l a r S p a n ia r d was g i f t e d i n t h e use o f d e s c r i p t i v e la n g u a g e . I t i s w o r th n o t i n g t h a t t h e one s t a n z a l e f t o u t o f t h e F ernandez e d i t i o n i s t h e o n l y one t h a t can be c a l l e d i n f e l i c i t o u s .

I n t h i s one

s t a n z a — ab o u t an e a g l e and i t s f l i g h t t o t h e sun and a b o u t t h e e a g l e ' s s c o r c h e d f e a t h e r s — , F ray D iego d e p a r t s from t h e s t r i c t r e a l i s m o f t h e

% r a y J u a n F ern an d ez de R o ja s , " N o t i c i a s d e l M. F r . Diego G o n zale z," n. p.

^Cueto, op. c i t . 5 p. ex.

66 r e s t o f th e poem.

F u rtlie rm o re > t h e s e l i n e s , as p r i n t e d i n t h e V erg er

v e r s i o n , b r e a k t h e c o n t i n u i t y o f t h e s t a n z a s t h a t p rece d e and fo llo w them .

In t h e B.AE v e r s i o n , t h e s e s t a n z a s r e a d as fo llo w s ( l i n e s 2 5 - ^ 0 ) : Oh m onstruo de ave y b r u t o , Que c i f r a s l o p c o r de b r u t o y a v e . V is io n n o c t u r n a g r a v e , Kuevo h o r r o r de l a s so m b ra s , nuevo l u t o , De l a l u z enemigo d o c l a r a d o , Kuneio d e n v e n tu ra d o De l a t i n i e b l a y de l a no ch e f r i a , ÂQuë t i e n e s t u que h a c e r donde e s t a c l d ia ? Tus o b ra s y f i g u r a M aldigan de coimm l a s o t r a s a v e s . Que c â n t i c o s su a v e s T r i b u ta n cada d i a â l a a l b a p u r a ; ï porque mi v e n t u r a i n t e r r u m p i s t e , Y a su a u t o r a f l i g i s t e , Todo e l mal y d e s a s t r e t e su c e d a Que a un m u r c ie la g o v i l s u c e d e r p u e d a .

W i a te v e r th e r e a s o n f o r t h e e x c l u s i o n o f s t a n z a nuriber f i v e ( V erger) from t h e

t e x t , th e r e s u l t i s a. more u n i f i e d a n d c o h e s iv e r e a d i n g .

A p a r t i c u l a r l y comic e v o c a t i o n i s t h a t o f t h e b u s t l i n g h o u s e ­ w i f e and o f h e r t e r r o r a t th e s i g h t o f t h e bs-t (BAE, l i n e s 1*9-56): La duena m e l i n d r o s a , T ras e l t a p i z do t i e n e s t u m a n id a, Te ju z g u e , i r i a d r e r t i d a , Por te la r a n a su c ia y asquerosa, Y con l a e sc o b a a l s u e l o t e d e r r i b o ; Y a l v e r que b u i.le y v iv e Tan f i e r a y t a n r i d i c u l a f i g u r a , S u e l t e l a e s c o b a y h u y a con p re s u r r - . The s u b j e c t m a t t e r and v o c a b u la r y o f t h e s e l i n e s c o a l d h a r d l y be more p r o s a i c ; t h e r e i s n o th i n g h e r e o f p a s t o r a l c o n v e n t i c c , which i s b a s e d on e v a s i o n o f e v e ry d a y r e a l i t y , e s p e c i a l l y a s r e g a r d s la n g u a g e . ■The p o e t who w ro te t h e s e l i n e s would r a r e l y , i f e v e r , u s e such words as " e s c o b a , " " t e l a r a h a , " o r "m uladar mas s u c io y a s q u e . oso" w h ile w r i t i n g i n t h e p a s t o r a l , mode.

67 P erhaps t h e s t a n z a s most ad m ired by h i s t o r i a n s an d a n t h o l o g i s t s a r e t h e th r e e t h a t p o r t r a y th e c a t , " e l ju g u e to n g a t i l l o b u l l i c i o s o , " and i t s r e a c t i o n s t o t h e b a t , v h ic h l i e s s tu n n e d on t h e f l o o r .

F ray

D iego e x p e r t l y p i c t u r e s t h e c a t , f i r s t t e r r i f i e d , th e n s t a l l i n g , and f i n a l l y to s s in g th e b a t r e p e a te d ly in th e a i r .

D iis m i s t r e a t m e n t i s

as n o t h i n g , ]]owe v e r , compared t o t h e t h r e e dozen forms o f verb a], and p h y s i c a l abuse w hich t h e p o e t c o n j u r e s ujj f o r th e b a t a t t h e hands o f " la p u e ril tro p a ."

R e c a l ] i n g p r e v io u s l i n o s , w herein t h e b a t i s m aligned

a s " m o n s tr u o ," " v i s i o n n o c t u r n a , " " h o r r o r de l a s s o m b ra s ," and "nuncio ...

de l a t i n i e b l a , " l i n e s 121-128 ( BAE) e x p l o i t t h e f o l k l o r e o f b a t s

and t h e i r t r a d i t i o n a l a l l i a n c e w ith t h e f o r c e s of e v i l : Y la s s u p e rstic io n e s De l a s v i e j a s creyendo r e a l i d a d e s , Por v e r c u r i o s i d a d e s , Pn t u s a n g r e humed escan algodones , P a r a e iic e n d e r lo s en l a noche o s c u ra , Creyendo s i n c o r d u r a Que v e r a n en e l a i r e c u l e b r i n a s Y o tr a s t r i s t e s v isio n e s p ereg rin as. The p o e t e n v i s i o n s a mock f u n e r a l , com%)lete w ith p r o c e s s i o n , " G o r i , g o r i , c a iita n d o ," h i r e d m o u rn e rs , b u r i a l in a tr a s h h e a p , a g r a v e m arker, an d, f i n a l l y , an e p i t a p h .

In t h e e p i t a p h , M ir ta i s a g a i n e q u a t e d w ith

t h e sun and th e day ( l i n e s 1 ^ 5 -1 5 2 ): Aqux y a c e e l m u r c ie la g o alevoso Que a l s o l h o r r o r i z o y aiiuyentd e l d i a , De p u e r i l s a h a t r i u n f o l a s t im o s o . Con c r u e l m u e rte pago su a l e v o s i a : No s i g a s , cam in an te p r e s u r o s o , H a s ta d e c i r s o b r e e s t a l o s a f r i a : A c o n tez ca t a l f i n y t a l e s t r e l l a A a q u e l que mal h i c i e r e â M ir ta b e l l a . Hie f i r s t and l a s t l i n e s o f t h e poem, w hich c o n ta in t h e w ords " M i r ta b e l l a , " a r e th e framework w i t h i n which t h e p o e t m a n ip u la te s t h e language

66 o f i n v e c t i v e , f o r i t vas M i r t a ' s f r i g h t t h a t moved th e p o e t t o r e v i l e th e p e r f id io u s b a t .

In t h e s e n s e t h a t t h e poem vas i n s p i r e d by

M i r t a ' s d i s c o m f i t u r e and d i r e c t e d t o h e r , i t m ight l o o s e l y be c a l l e d a lo v e poem; p resu m ab ly , M i r ta v o u ld d e r i v e some p l e a s u r e from r e a d i n g o f t h e m i s f o r t u n e s v is h e d by h e r i n g e n io u s p o e t upon th e anim al t h a t so f r ig h te n e d h e r.

Yet, "El m u r c ie la g o a le v o s o " i s n o t remembered as

a lo v e poem; i t i s remembered o n ly f o r v h a t i t r e a l l y i s — a v i r t u o s o p e r f o r m a n c e in a minor g en re.

III.

C iv i c poo t r y . " L l a n t o de D elio y p r o f e c i a de M anzanares" (pp. l 8 l - l 8 4 ) .

T his

e c lo g u e i n s e v e n - and e l e v e n - s y l l a b l e l i n e s b e a r s t h e s u b t i t l e "E g lo g a e s c r i t a con m o tivo de l a te m p ran a m u e rte d e l s e h o r i n f a n t e don C a r lo s E u s e u i o , y d e l f e l i c i s i m o p a r t o de l a s e r e n i s i r a a s e n o ra P r i n c e s a de A s tu ria s ."

Tlie p erso n ag es i n th e poem a r e D e l i o , th e R iv e r M anzanares,

and t h e P o e t - n a r r a t o r .

D e s p ite i t s im p o sin g t i t l e , th e poem i s , i n

t h e o p i n i o n o f Fernando L a z a ro , F ray D ie g o 's "in gen uo p r e t e x t o p a r a e l o g i a r l a s d o te s l i t e r a r i a s de L is e n o y Ba t i l o . o c c a s i o n t o la m e n t th e d eath o f C adalso .

I

t

i s also th e

N o ta b le e v e n ts form t h e

h i s t o r i c a l background f o r t h i s e c lo g u e o f 1783:

in J u n e , th e male

s u c c e s s i o n t o t h e th ro n e v a s i n t e r r u p t e d by th e d eath o f th e young p r i n c e , C a rlo s E u s e b io , grandson o f th e r e i g n i n g monarch C h a rle s 111, and son o f t h e f u t u r e C h arles IV; i n A u g u st, elem en ts o f th e S p a n is h navy bom barded t h e c i t y o f A l g i e r s , an e v e n t t h a t had v i d e s p r e a d p s y c h o l o g i c a l , r a t h e r than m i l i t a r y , im p o rtan ce.-

^Opazaro, op. c i t . , p. 75.

I n S ep tem b er, a

69 peace t r e a t y was s ig n e d between S pain and E n g la n d , a t r e a t y t h a t a s s u r e d E n g l is h o c c u p a tio n o f G i b r a l t a r . I l l 's

A lso i n S eptem b er, C h a rle s

d a u g h t e r - i n - l a w , Maria L u isa de Parma., l a t e r t o be t h e queen o f

C h a rle s IV, gave b i r t h t o t w i n s , C a rlo s and F e l i p e . W i t h i n t h i s fram ework. F ray D iego m a n ip u lates h i s t o r i c a l and c l a s s i c a l a l l u s i o n s and i n c i d e n t a l l y m e n tio n s o t h e r members o f t h e Salamancan group.

As

t h e s u b t i t l e i n d i c a t e s , the " L la n to de D e li o " mourns t h e d eath o f t h e young p r i n c e C a r l o s ; t h e " P r o f e c ia da M anzanares" f o r e s e e s t h e h a p p i­ n e s s t h a t a w a its S p a in as a r e s u l t o f t h e b i r t h o f t h e r o y a l t w i n s . The name " P r o f e c i a de M anzanares" r e c a J l s t h e t i t l e o f F ray L u is de L e o n 's " P r o f e c i a del T a j o , " i n wliicli t h e Moorish in v a s i o n and o c c u p a tio n o f S pain a r e fo r e s e e n a s p u n ish m e n t f o r t h e s e d u c ti o n o f " l a herm osa Cava" by t h e l a s t Gothic; k i n g , R od rigo .

F ray Diego r e f e r s

o b l i q u e l y t o t h i s deed in D e l i o 's a p o s tr o p h e t o t h e R iv e r Manzanares ( l i n e s 3*4-39): Rehuye, oh M anzanares, p r e s u r o s o Del s u e lo que lia s ta a n u i t e f u e r a amigo, Y r e t i r a del T a jo t u c a r r e r a ; D el T ajo . . . t e s t i g o Inhuaiiano del c a s o d o l o r o s o , CJue e l liorror e s p a r c i o p o r s u r i b e r a . . . F r a y L u i s , t o o , h a d mourned th e d eath o f a young p r i n c e C a r l o s , i n t h i s c a s e Don C a r l o s , son o f P h i l i p I I ; P ray L u is w r o te t h i s e p i t a p h "Al tum ulo d e l p r i n c i p e don Carlos" : Aqui yacen de C a rlo s l o s despo j o s , La p a r t e p r i n c i p a l v o l v i o s e - a l c i e l o .

l^C otarelo y Mori, op. c i t . , pp. 277-282.

70 Con e l l a fu e e l v a l o r ; qu edo le a l s u e lo Miedo en e l c o ra z o n , l i a n t e en l e s o j o s . ^ ^ L in es 99-102 c f " L i a n t e de D e lio " a r e a p a r a p h r a s e o f t h i s e p i t a p h ; t h e c o i n c id e n c e o f th e names o f t h e dead p r i n c e s malies F r a y D ie g o 's p a r a ­ p h r a s e a l l t h e more a p p l i c a b l e ; l i n e 100 i s a d i r e c t q u o te from Fray L uis : V o la s t e a l c ie lo > cn f i n ; d e j a s t e a l s u e l o , Miedo en e l c o r a z o n , 11an to cn l o s o j o s . De t u a u s e n c i a e t e r n a l d ignos l e g a d o s . La t i e r r a f r i a c u b re tu s d e o p o jo r.. F ray L uis a l s o w ro te a "C ancion â l a itiuerte d e l ciismo"; a d d r e s s i n g t h e dead c h i l d , t h e p o e t s a y s t h a t d e a th a c te d o u t o f f e a r , t h a t d e a th f e a r e d th e f u t u r e deeds and triu m p h s o f t h e young p r i n c e .

The l a s t

l i n e reads : Y a s i e l misrao tem or l e d io o s a d i a . ^ 3 F ray Diego u s e s a lm o s t e x a c t l y t h e same woi-ds i n h i s r e m o n s tra n c e s t o d e a th ( l i n e s 67 - 69 ): . . . a c a s o e l nombre augusto Te cauGo t a n t o s u s t c , Que e l misffio miedo t e in f u n d i o o s a d i a . . . Much o f th e " L l a n t o de D e lio " i s c o n c e rn e d w i t h e x c e s s i v e p r a i s e o f t h e dead c h i l d , o f h i s m o th e r, and o f t h e c o n t r i b u t i o n s o f t h e Bourbons t o S p a in .

Tiie d ead p r i n c e i s a d d r e s s e d as " C a r lo s d i v i n o " ;

h i s m o th e r, M aria L u i s a de Parma, i s v a r i o u s l y c a l l e d " d u lc e m ad re," " l a d u lc e L u i s a , " " l a amable y d u lc e L u i s a , " " l a mas b e l l a p a s t o r a , " and " l a v i r t u o s a m a d re ."

Tlie R iv e r Manzanares p r o p h e s i e s t h a t t h e

12pray L uis de L eon, E s c r i t o r o s de3. s i g l o XVI, Tomo seg undo, Obras d e l m a e s tr o f r a y L u is de L eon . P r e c e d e l a s su v i d a , e s c r i t a por don G re g o rio Mayans y S i s c a r . BAE 37 (M adrid: M. R iv a d e n e y r a , I 872) , p. 1 7 .

1 3lb id .

71 r o y a l tw in s w i l l one day r e a d o f t h e i r i l l u s t r i o u s f o r e b e a r s , b e g i n n in g w ith P h i l i p V, g randson o f L o u is XIV o f F r a n c e , and f i r s t o f t h e Bourbon k in g s o f S p ain ( l i n e s 3 7 5 -3 8 7 ): . . . y como t r a j o F i l i p o e l Animoso Desde e l S en a l a s a n g r e e s c l a r e c i d a A n u e s t r o anado T a j o , Del c i e l o don p r e c i o s o , Con que f u e n u e s t r a H e s p e r ia e n r i q u e c i d a , Y su g e n t e r e g i d a P or co stu n ib res r n e jo r e s ; Como p u l i o s u t r a j e , Como f i j o e l l e n g u a j e , Y e l c a n t o a c r i s o l o de l o s p a s t o r e s , Con otroG c l a r o s h e c h o s , Cuya ineinoria d u ra en n u e s t r o s p e c h o s. The Bourbon k in g s d i d e f f e c t nuaierous d o m e stic improvements i n e i g h t e e n t h c e n t u r y S p a in , b u t t h e p a c t o s de f a m i l i a w hich were s ig n e d b y t h e Bouihon k in g s o f Europe i n 1733, 17^13, and I 76I b r o u g h t l i t t l e a d v a n ta g e t o th e c o im try i n t e r n a t i o n a l l y .

E m ilio C o ta r e lo y Mori c a l l s t h i s a g r e e ­

ment b etw ee n Bourbons a c o n t r a t o le o n in o en l a p r a c t i c e , %)or e l que v in o â c o n f ir m a r s e a q u e l l a e s p e c i e de t u t e l a p o l i t i c a y m i l i t a r que F r a n c i a e j e r c i a s o b r e n o s o tr o s desde que e l Rey S o l h a b i a p u e s to un p r i n c i p e f r a n c o s en e l tr o n o de C a rlo s In k eeping w i t h t h e n a t u r e o f t h i s e c lo g u e as a c e l e b r a t i o n o f b i r t h , i n p a r t i c u l a r th e b i r t h o f Bourbon p r i n c e s , t h e r e a re w i t h i n th e poem many symbols o f f e r t i l i t y and abiuidarice.

W ater i t s e l f

s y m b o lis e s l i f e and r e b i r t h ; i t i s t h e r e f o r e a p p r o p r i a t e t h a t , a f t e r t h e " L l a n t o de D e l i o , " t h e R iv e r M anxanarcs s h o u ld prophesy t h e r e t u r n o f th e C l a s s i c a l Golden Age ( l i n e s 3 8 8 -4 1 3 ): E n to n c e s n u e s t r o s u e l o B ro ta ra nucvas f l o r e s ,

74cotarelo y Mori, op. c i t . , p. 33.

72 V o lv e râ a l raimûo l a o f e n d i d a A s t r e a , Y r e i n a r â s i n ûuelo E n tre n u e s tro s p a s to r e s . T o rn a r â e l s i g l o de S a tu r n o Khea, Y v e r t e r â Araaltea Del riCD don sa^^ado Los b i c n e s s in medida. La grama a p e t e c i d a Seguro p a c e r a n u e s tr o g anado, Y en ] as o c io s a s h o ra s C a n ta râ n t a n t a di'^ha l a s p a s t o r a s . Kec:ibi.r?5. c l arado F a c ilid a d , y e l fru to E x c é d e ra l a r u s t i c a e s p e r a n z a . M ercu rio con agrado P e rc ib irâ c l trib u to De l a nave t r a n d a con b o n an za . Y â M inerva a lab an za Se d a r a cuando h i c i e r e Que en l a s lie s p e r ia s p a r t e s Sus t r è s amadas a r t e s , Y c u a n to y a empezado bueno h u b i e r e , P or e l d o b le t a l e n t c L leg u e â s u p o r f e c c io n y complejiiento. F lo u e r s , g r a s s f o r t h e g r a z i n g s h eep , t h e p lo w s h a r e , f r u i t , the la d e n s h ip r e t u r n i n g on a f a v o r a b l e wind, t h e d o u b le b i r t h — a l l these sym­ b o l i z e t h e new Golden Age t h a t Spain s h a l l e n j o y u n d e r t h e Bourbon k in g s .

R e f e r e n c e s t o C l a s s i c a l d e i t i e s r e i n f o r c e t h e prophecy o f

S p a i n 's f u t u r e h a p p i n e s s .

A s tr e a , t h e s t a r m a id en , d i s t r i b u t e d b l e s s i n g s

among men d u r in g t h e Golden Age, b u t l e f t t h e e a r t h when t h e i r o n age began.

S a t u r n e s t a b l i s h e d a new h e i g h t o f c i v i l i z a t i o n i n I t a l y , th e

S a t u r n i a r e g n a , o r th e a u r e a s a e c u l a ; Rhea, a s s o c i a t e d w ith f r u i t f u l ­ n e s s , i s an a r c h e t y p a l m o ther.

Aiiialtea i s t h e f o s t e r m other of Zeus;

r e p r e s e n t e d sometimes as t h e goat t h a t s u c k l e d t h e i n f a n t god, h e r symbol i s th e Horn o f P l e n t y .

M ercury, t h e god o f commerce, w i l l look

w ith f a v o r upon S p a i n 's g a l l e o n s ; M in e r v a 's " t r e s amadas a r t e s " a r e th e h a n d i c r a f t s , t h e p r o f e s s i o n s , and t h e a r t s .

In a l l t h e s e r e f e r e n c e s ,

th e omens a r e good f o r th e hap p in ess o f S p a in an d o f t h e r o y a l t w i n s .

73 The R i v e r a l s o p r o p h e s ie s t h a t C h a rle s I I I , th e "m ayoral mas bueno / Que n u e s t r o s v a l l e s r i g e c u id ad o so " ( l i n e s 3 1 1 -3 1 2 ), v i l l con­ c lu d e "La piaz mas v e n t a j o s a y l i s o n j e r a " w ith E ngland ( l i n e i|-19) and e x a c t rev en g e from t h e s la v e t r a d e r s o f A l g i e r s ( l i n e s ^ 2 7 -^ 3 2 ) .

Many

p o e t s o f t h e day were i n s p i r e d t o c e l e b r a t e t h e s e n o te w o rth y e v e n ts o f 1 7 8 3 ; so many, in f a c t , t h a t Juan P ab lo F o rn e r s a t i r i z e d them in a sup posed l e t t e r e n t i t l e d " C a r ta d e l t o n t o de l a duquesa de A lba â un amigo suyo de A m e r i c a . F o r n e r d e p l o r e s th e " g r a n iz o enorme de c o p l e r o s que n o s h a d e s t r u i d o p o r a c a l a f e r t i l i d a d d el campo p o e t i c o , " b u t he does n o t name any p a r t i c u l a r p o e t .

T h e r e f o r e , i t can o n ly be

c o n j e c t u r e d w h e th e r o r n o t he had in mind Fray D ie g o 's " L la n to de D elio y p r o f e c i a de M an z a n a re s."

I t i s more l i k e l y t h a t , r a t h e r th a n s a t i r i z e

an o l d e r member o f t h e S a l aman can group o f which h e , t o o , formed a p a r t , F o r n e r had i n mind G a r c ia do l a H u e rta o r any o f two dozen o t h e r p o e ts who w ro te on t h e same t h e m e . I n

any c a s e , F o r n e r condemns " l a

e x e c r a b l e h ambre do s a c a r d in e ro a c o s t a de l o s a u g u s te s n in e s y de e s ta paz"; i t

i s t h i s e x e c r a b le h u n g er w h ich , i n h i s view , m o tiv a te s

th e " f r ie s v e rs ific a d o re s y c o p lista s in s u ls o s ."

In c h a r a c te r i s t ic a l ly

immodest f a s h i o n , F o r n e r adds. Es un a mengua v e r que al. la d o de un a e g lo g a de M elendez, de un a s a t i r a de -F orner y de una epopeya de M o ra tin , hayan de com parecer t o d a v i a r o m a n c i l l o s e n t r e t e j i d o s de l a t i n b â r h a r o , con e q u i v o q u i l l o s , r c t r u e c a n o s , a n t i t e s i s y demas s an d ece s de G erardo Lobo y l o s de s u s e c t a . ^ ?

15J u a n P a b lo F o r n e r , " C a r ta d e l t o n t o de l a duquesa de A lba a un amigo suyo de A m e ric a ," F o e ta s l i r i c o s de.l s i g l o X V III, Tomo segundo. BAE 63 (M adrid: M. R iv a d e n e y ra , I 87I ) , pp. 3^5-346. ^ ^ C o t a r e l o y M o ri, op. c i t . , p . 2J8, n o te s 1 - 5 ; p. 282, n. 2. ^ ^ F o r n e r , " C a r t a d e l t o n t o , " p . 3^6.

Not w is h in g t o be o u td o n e .

In t h e view o f Guillermo D i a a - P l a j a , such h i s t o r i c a l them es as inalie up t h e s u b j e c t m a t t e r of F r a y D ie g o 's e c lo g u e " s e aûecûan s i n v i o l e n c i a a l a zarapona b u c o l i c a . " ^ ^

To w h a t e x t e n t t h i s i s n o t t r u e

can b e seen from t h e fo llo w in g exam ple:

t h e R iv e r Manzanares h a s j u s t

begun h i s p r o p h e c y , b u t upon s a y i n g "La am able y d u lc e L u i s a , " he can p r o c e e d no f a r t h e r .

The p o o t - n a r r a t o r e x p l a i n s ( l i n e s 2 7 5 -2 0 5 ):

Apenas c l an gusto nombre o y ero n H in f a s y fau n es, con a l e g r e r u i d o T a n to s v iv a s al c i e l o l. e v a n t a b e n , Que a l d io s i n t e r r u m p ie r o n . Y e l un core del o t r o d i v i d i d o , Los fau n o s du lces himnos e n t o n a b a n , Y l a s n in fa s h o llab an . Con g r a c i a y com postura, Del s u e l o l a v e r d u r a. "V iv a, v i v a " , l o s unos r e p e t i a n ; Las o t r a s , "L u isa, L u i s a " , r e s p o n d i a n . Tlae m ix in g o f h i s t o r i c a l and c l a s s i c a l , b u c o l i c e le m e n ts , even i n t h e g u i s e o f a p ro p h ecy by a p e r s o n i f i e d r i v e r - g o d , p r o d u c e s , in t h i s i n s t a n c e a t l e a s t , a ludicrom s e f f e c t .

Such p r a i s e f o r th e P r i n c e s s

o f A s t u r i a s does i n f a c t i n t e r r u p t , as t h e n a r r a t o r s a y s , and i s p u r e l y g ra tu ito u s.

Y e t, t h e r e can be no doubt o f F ra y D ie g o 's s i n c e r i t y o r

o f h i s f a i t h i n t h e happy f u tu r e o f t h e Bourbon l i n e ; he was, a f t e r a ll,

a s u b j e c t o f C h a rle s 111, t h e most e n l i g h t e n e d S panish r u l e r o f

th e e ig h te e n th cen tu ry .

h o w ev er, F o r n e r adds a t th e end o f h i s l e t t e r a romance on t h e su b­ j e c t o f t h e r o y a l b i r t h s ; he i n t r o d u c e s h i s romance in t h i s f a s h i o n : Yo, e l menor de l o s p o e t a s Que hacen p r o f e s io n de n e c i o s , Por no d ej a r de s e r t o n t o . Os d i r i j o en f i n mis v e r s o s . I t i s c u r i o u s t h a t F o r n e r should aim h i s l i t e r a r y b a r b s a t G erardo Lobo: t h e l a t t e r d i e d i n 1750, f o u r y e a r s b e f o r e F o rn e r was b o r n . 18 Guillermo Diaz-Plaja, op. c i t . , p. 262.

75 To h i s c l a s s i f i c a t i o n o f t h i s eclo g u e as c i v i c p o e t r y . P r o f e s s o r Monguio adds: G o n z a le z 's d e v o tio n t o C h a r le s I I I — t h e b e s t and m ost c a r e f u l h e a d sh e p h e rd who g o v e rn s o u r v a l l e y s , as he c a l l s t h e k i n g i n h i s p a s t o r a l .language— i s p a . r t i c u l a . r l y to u c h in g and I b e l i e v e r e p r e s e n t a t i v e o f t h a t K in g 's h ig h r e p u t a t i o n among h i s e n l i g h t e n e d su b je c ts. U n f o r t u n a t e l y , h i s t o r y p la y e d a c r u e l t r i c k on Fray Diego a n d , i n th e p r o c e s s , r u i n e d t h i s p a t r i o t i c e c lo g u e f o r f u t u r e r e a d e r s .

F ra y Diego

w r o te h i s " L la n to do D e lio y p r o f e c i a de M anzanares" f i v e y e a r s b e f o r e t h e d e a th o f C liarles I I I and more t h a n te n y e a r s b e f o r e G od oy's r i s e t o power,

he c o u ld n o t know t h a t t h e "amable y d u lc e L u i s a " o f h i s

poem w ould be Chaides I V ' s a d u l t e r o u s queen and G odoy's m i s t r e s s . P r o f e s s o r Monguio c o n t i n u e s : On t h i s p o i n t P r o v id e n c e was good t o F a t h e r G o n zale z. He d ie d in 179^, and he was t h u s s p a r e d from w i t n e s s i n g th e d e g r a d a t i o n o f t h e monarchy, a d e g r a d a t i o n t h a t would have b een u n b e a r a b l e t o him as i t was t o h i s f r i e n d J o v e l l a n o s , b o th o f them goo# c i t i z e n s and good s u b j e c t s i n t h e term s o f e n l i g h t e n e d d e s p o tis m . F u r th e r m o re ,

in O c to b e r and November o f 1T8H> th e r o y a l tw in s d ie d .

F o rtu n a te ly ,

th e s u c c e s s i o n was a s s u r e d by t h e b i r t h o f a f o u r t h

son

i n O cto b er o f 178^-1^ ^ ; t h i s son w ould l a t e r r e i g n as F e r d in a n d V I I I . There i s one co n te m p o ra ry r e f e r e n c e i n th e poem t h a t c o n t in u e s t o b e o f more th a n h i s t o r i c a l i n t e r e s t ( l i n e s I 56- I 6 3 ): La g u e r r a l a y , Dios', l a f l o r de n u e s t r a g e n te D evoraba i n c l e in e n tc , y M a rte , a r d ie n d o cn i r a . H o llo y rompio l a l i r a De D alm iro, ioh d o l o r ! l a d ig n a s o lo De c e l e b r a r l a g l o r i a De C a r l o s , e x t e n d ie n d o su memoria Del uno a l o t r o p o l o .

^^Monguio, op. c i b . , p. 2 5 6 .

^^I b id .

^•^Cotarelo y Mori, op. c i t . , p. 282, n. 1.

ï6 T hese l i n e s r e f e r t o t h e d e a th o f C ad also a t t h e s i e g e o f G i b r a l t a r i n 1 732; C a d a l s o 's d e a th was la m e n te d t h r o u g h o u t S p a in b u t e s p e c i a l l y i n Salam anca by t h e p o e t s o f tlie P a rn a s o s a la in a .n tin o , t h e e r s t w h i l e Academia c a d a l s i c a . Pocos s u e e s o s d e s g r a c i a d o s ban la m e n ta d o l a s musas c a s t e l l a n a s con v e r s o s mas dud. ces y a f e c t u o s o s . . . . To dos l e r e c o n o c ia n p o r s u m a e s tr o y p o r s u inodelo y am igo, y b a j o e s t o s t i t u l o s es d i f i c i l e n c o n t r a r o t r o q u e, e x e n to do e m u la c io n e s y r i v a l i dad es p u e r i l e s , h ay a s a b id e u n i r mas â l o s g ra n d e s i n g é n i é s de s u tie m p o , d i r i g i r sus paso s â l a g l o r i a de l a n a c io n y â l o s p ro g re s o s ^ de l a l i t e r a t u r a , y a b r i r en Er.paha un nuevo camino â l a p o e sia .^ 2 Toward t h e end o f t h e poem. F ray Diego a g a in m e n tio n s C a d a ls o , t h i s t i m e i n c o n n e c tio n w ith o t h e r p o e t s o f t h e S a l amancan s c h o o l.

The

R iv e r M anzanares a s s u r e s D e lio o f S p a i n ' s f u t u r e h a p p i n e s s ; D e l i o , h o w ev er, as a m o r t a l , w i l l n o t l i v e t o s e e t h e r i v e r ' s p r o p h e c i e s fu lfille d .

D e v e r t h e l e s s , th ro u g h i t s o t h e r members, t h e P arn aso

s a l a m a n t i n o w i l l c o n tin u e t o f l o u r i s l i ( l i n e s

):

. . . t u ca n to Con v e r s o mas araeno P ro se g u ira L isen o , A q uien oye Compluto con e s p a n t o ; Y t a l vez e l H enares Alzo e l pecho a t e n d i e n d o â su s c a n t a r e s . Tambien con a l t o e s t i l o Ayudara, a l i n t c n t o E l que en e l Tormes c a n t a d u lc c ra e n te , B a t i l o , e l buen B a t i l o , A q u ie n dio su i n s t r u m e n t e D alm iro , que con voz d e s f a l l e c i e n t e Le d i j o : "Solam ente A t i , z a g a l , es dado C o n c c r ta r e s a l i r a . Que d e s t r o z o con i r a M a rte , y c a n t a r d e l s i g l o b ie n h a d a d o ; Y s e r a e l c a n to d in o S i l o a p ro b a r e e l j u i c i o de J o v i n o . " 22 Cueto, op. c i t . , p. 2k6.

TT F ray Diego m o d e s tly a s c r i b e s a more e x a l t e d p l a c e i n t h e P arn aso t o L ise n o , F r a y Jn,an F ern an d ez de R o ja s , now i n M c a l a de H enares (Comp lu to ).

Soon, o n ly Melendez Valdes w i l l rem a in in Salam anca, in h i s

c a p a e i t y as l e c t u r e r i n H um anities a t t h e U n i v e r s i t y .

Malendez d id

in d e e d i n h e r i t t h e dead C a d a l s o 's l y r e , b u t r a t h e r th a n s in g i n p r a i s e o f h i s e n l i g h t e n e d c e n t u r y , M elendez, l i k e C ad also b e f o r e him, san g o f " g u s to s y ajïiores."

His a n a c r e o n t i c v e r s e s d i d n o t i n f a c t r e c e i v e

th e a p p r o b a t io n o f J o v e l l a n o s ; th e p a t r i o t i c p o e t t h a t J o v e l l a n o s lo o k e d f o r i n F r a y D iego , F a tlje r F ern an d ez , and Malendez Valdes would come l a t e r ,

in t h e p e r s o n o f Manuel J o s e Q u in ta n a .

"A l a p a z v e n ta jo s a m e n te c o n c l u id a p o r C a rlo s I I I "

(p. I 9 8 ).

Bie t i t l e o f t h i s s o n n e t i n d i c a t e s t h a t th e P a r i s p eac e t r e a t y o f 1783 was a d v a n ta g e o u s t o S p a in ; C o ta r e lo y Mori i n d i c a t e s t h a t S pain d i d d e r iv e some a d v a n ta g e from t h i s t r e a t y , b u t may h av e d e r iv e d more had th e war c o n t in u e d l o n g e r : La p a z de P a r i s de 3 do S ep tiem b re de 1783, mucho iriâs f a v o r a b l e p a r a n o s o t r o s que l o que h u b ie ra n hecho e s p e r a r l o s d e s g r a c ia d o s s u e e s o s m a r i t i m e s , aunque no t a n t o como l a hub ieram o s con segu id o â c o n t i n u a r l a g u e r r a alg uno s meses mas, pues s e h a b r i a r e c o b r a d o â G i b r a l t a r , puso te rm in e a l a l u c h a e u r o p e a y a m erican a de c in c o anos c o p u e l r e c o n o c im i e n to de l a in d e p e n d e n c i a de l o s E s ta d o s Unidos.^j The to n e o f t h i s s o n n e t t o peace i s u n d o u b te d ly , p e r h a p s u n j u s t i f i a b l y , s a n g u in e :

a s n o t e d e a r l i e r by C o ta re lo y M o ri, so lo n g as th e p a c t o s

de f a m i l i a re m a in e d i n f o r c e between th e Bourbon monarchs o f E u ro pe, S p a in co u ld n o t hops t o b e more th a n a s a t e l l i t e n a t i o n .

I f in th e

view o f t h e S p a n is h p e o p l e , t h e n , C h a rle s d i d in d e e d n e g o t i a t e an pc “^Cotarelo y Mori > op. c l t >, p. 27T*

78 a d v a n ta g e o u s peace t r e a t y . F ra y D ie g o 's e f f u s i v e to n e can b e t t e r be u n d e r s to o d : La g u e r r a p o r un caso i n e v i t a b l e I n v a d io l a e s p a fio la ino narp uia, Ju sgan do que a c e p ta d a , a c a u a r i a De uïia v e s con l a g e n te m i s e r a b l e : y r e h u s a d a , a l monarca r e s p e t a b l e La g i . c r i a m i l i t a r r e b a j a r i a . El p u e b lo o f r e c e â C arlos a p o r f f a Donee m il d e l t e s o r o i n a g o t a b l e De s u ojnor; y p o r C arlo s n e g o c ia d a , Viene l a paz. con palma de v i c t o r i a . La g u e r r a c r u e l , huyendo a p r e s u r a d a , T a n to s d e s p o jo s d e j a en n u e s t r a - t i e r r a . Que C a rlo s de l a paz s a c a l a g l o r i a , y e l p u e b lo l a ab u n d an c ia de l a g u e r r a . Tlie " c a s o i n e v i t a b l e " c o u l d be a r e f e r e n c e t o t h e p a c t o s de f a m i l i a w hich l i n k e d th e f o r t u n e s o f S p a in w ith t h o s e o f F ra n c e ; s u c h an a g r e e ­ ment betw een Bombons w ould i n e v i t a b l y in v o lv e S p a in . I n t h i s poi..>m. F ray D iego a g a i n d e m o n s tra te s h i s a d m ir a t i o n f o r t h e monarch and i n d i c a t e s t h a t t h i s f e e l i n g was g e n e r a l among th e S p a n is h p o p u la c e .

I d ia t e v e r i n t e r n a t i o n a l b e n e f i t s S p ain d e r i v e d from

t h e t r e a t y o f 1783, t h e r e can be no doubt t h a t , w ith th e w ar a t an end, t h e country'' c o u ld l o o k fo r w a r d t o c o n tin u e d dom estic p r o g r e s s th r o u g h ­ o u t t h e re m a in d e r o f C h a r l e s ' r e i g n .

"E g lo g a con m o tiv o de l a e x a l t a c i o n a l t r o n o y p ro c la m a c io n de n u e s t r o au g u sto s o b e ra n o C a r lo s IV" (p. 1 97)-

W r i t t e n some f i v e

y e a r s a f t e r " L la n to de D e lio y p r o f e c i a de M a n zan a re s," t h i s u n f i n i s h e d e c lo g u e r e c a l l s th e s e t t i n g o f t h e e a r l i e r - p o e m and r e p e a t s e x a c t l y some o f i t s l i n e s .

The l a t e r e c lo g u e a l s o r e p e a t s t h e R iv e r M anzanares'

p r a i s e o f th e Bourbon l i n e .

The v e r s e s i n b o th poems a r e o f seven and

e l e v e n s y l l a b l e s , w i t h o u t a f i x e d s t a n z a i c form.

A side from t h e l e n g t h ,

79 t h e m ajor d i f f e r e n c e betw een t h e two poems i s t h a t i n th e e c l o g u e t o C h arles IV t h e r e a r e some l i n o s t h a t s u r p a s s in l y r i c i s m a n y t h in g i n t h e " L la n to de D e lio y p r o f e c i a de M an zan a re s." B a t ii.o , th e f i r s t t o speak) b e g in s t h e e c lo g u e by r e c a l l i n g t h e c irc u m s ta n c e s o f t h e e a r l i e r " L la n to de D e lio " ( l i n e s I - I O ) : iDe donde, D elio ainado, Tan e x t r a i i a a leg rx a? Poco h â que en e s t e s i t i o r e c o s t a d o , AiTeglando t u l i r a â to n o t r i s t e , Con fu n o b re e l e g i a A to d a l a rib e ra e n t e r n e c is t e , Moviendo t u laraento A tom ar in terc-s en t u s p e s a r e s Al le d o Manzanares, Que c l pecho alzo d e l are n o s o a s i e n t o . . . The b e l o v e d k i n g C h a rle s I I I i s dead and t h e r o y a l t w i n s , on whom t h e p o e t and t h e a s c e n s io n

n a t i o n had founded t l i e i r h o p e s , a re a l s o dead. But t h e

o f C h a r le s IV and th e

b i r t h o f a n o t h e r m ale h e i r seem to

t h e f u l f i l l m e n t o f th e L i v e r M anzanares' e a r l i e r p ro p h e c y .

be

D e lio

answers ( l i n e s 2 h - 3 6 ): . . . iOh amada p a t r ia mia! IOh f e l i c e s edades, Ell que l a alma v i r t u d es e n s a l z a d a Y en t r o n o r e a l s e n t a d a l Ya se ven humanadas l a s d e id a d e s En medio de l a p le b e a l b o r o z a d a ; Yat o r n a e l re in o de S a tu r n o y R hea, Y d erram a Amaltea Del r i c o don sagrado Los b i e n e s s in m edida. iOh d ic h o so e l zag a l a q u ie n es dado E l coraenzar l a v id a En t a n f e l i z momento! VJliereas e a r l i e r th e p o e t had s a id " T o r n a r a e l s i g l o de S a tu r n o R h ea," now he s a y s "Ya t o r n a ed. r e i n o de S a tu r n o y .E h e a " — t h e Golden Age h a s begun.

Vfhere e a r l i e r he had s a id " v e r t e r â A m a lte a ," now he s a y s

"d erram a A m a lte a ."

The u n d e r l i n i n g ( n o t i n th e o r i g i n a l ) i n d i c a t e s

80 t h e two v e r s e s t h a t a r e ta k e n i n t a c t from t h e " P r o f e c i a de M anzanares.." The r i v e r h a d a l s o p r o p h e s ie d "S eguro p a c e r a n u e s t r o g an ad o "; now, t o d e m o n s t r a te t h a t th e p ro p h ecy i s r e a l i t y , t h e p o e t s a y s ( l i n e s 373 8 ):

P aced, p a c e d , p a s t o r e s , l i b r e m e n t e , Soguros do in v a s i o n de lo b o liam briento . . . I h e n , i n an o u t b u r s t o f p a t r i o t i c f e r v o r , t h e p o e t e x c la im s ( l i n e s 39-

Cantad a le g re m e n te N u e s tra s gJ.orias f u t u r a s , Y e l nombre c a r o l i n o j u n t a m e n t e . iOh d ic h a s l iOh f a v o r e s l iOh v e n tu r a s ! iOh C arlo s d eseado! ioh d u lc e L uisa! V enid, tie m p o s , v e n i d â t o d a p r i s a . Mention h a s a l r e a d y been made o f th e h i s t o r i c a l ir o n y o f such h o p e f u l p ra ise .

Y e t, a g a i n , a t t e n t i o n must be c a l l e d t o Fray D ie g o 's o p tim is m

and t o h i s d e v o t i o n t o th e Bourbon l i n e . B a t i l o ' s r e j o i n d e r t o D e l i o 's p a s s i o n a t e o u t b u r s t i s a lm o s t c o m ical i n i t s c o n t r a s t i n g b l a n d n e s s ( l i n e s ^^5- ^ 8 , 59- 6l ) : Bien h i c i s t e en d e c irm e que no e r a L o cura consuraada t u a l e g r i a ; Que por t a l l a t e n d r i a Q uien, como y o, t e o y e r a . . . iDe donde, p u e s , t u f a l t a de co rdura? ÎQué f r e n e s i de nuevo t e h a tornado, Siendo p a s t o r de j u i c i o a c r e d i t a d o ? D e lio e x p l a i n s t h e changes t h a t have t a k e n p la c e in him , and j u s t i f i e s h i s t r a n s p o r t s o f j o y , by n o t i n g t h e ch an g es t h a t have ta k e n p l a c e in n atu re .

As m a n i f e s t a t i o n s o f n atu re , t r o c a d a , D elio p o i n t s o u t t h a t

now i t i s Endymion who s p o r t s , "En d i v e r s i o n l i v i a n a " ( l i n e 65)5 w ith t h e moon godd ess D iana; now th e r o s e s bloom i n m id w in ter ( l i n e s 7 7 8 8 ):

81 ÎKo ves s u b i r a l c i e l o , b o r û e a n d o , La c a l a n u r i a % ,arlera, En j u s t a p r o p o r c io n l a voz a l z a n d o , Y lu e g ü s e d e s c u e l g a â l a p r a d e r a P r e c ip ita û a m e n te ? iîJo e s a q u e l l a q u e a r r u l l a La t o r t o l a d o l i e n t e ? Î D e l m o n te en l a l a d e r a

en n u e s tr a e s ta n c ia

Mo m iras e l a ln e n d r o f l o r e c i e n t e ? 6No s i e n t e s

la

fra g a n c ia

De l a s r o s a s que n a c e n p o r do q u i e r a , Y t u do en medio d e l i n v i e r n o c ru d o ? Tlie n a t u r a l phenomena t h a t D e lio d e s c r i b e s a r e a p p r o p r i a t e t o summer b u t ta k e p l a c e h e r e in th e h a r s h w i n t e r c o l d .

IVhat 'th e p o e t s e e s i s

o n ly a v i s i o n , occasioned, i n t h i s c a s e by an e x c e s s o f e n th u s ia s m . The r o s e s a r e n o t r o s e s a t a l l , b u t s o m e th in g e l s e .

A ll t h i s B a tilo

e x p l a i n s , b l u n t l y , u n p o e t i c a l l y , t o t h e e c s t a t i c D e lio ( l i n e s 8992): iT an to t u gozo o n a j e n a r t e pudo Que ju z g u es cosas t a l e s Las h o g u eras que en m u e s tr a de a l e g r i a Encienden l o s z a g a le s ? And th u s t h e poem ends on a n o t e o f uncom prom isin g r e a l i t y .

Soon a f t e r

t h e w r i t i n g o f t h i s e c lo g u e , i n 1888 o r I 889, t h e c irc u m s ta n c e s t h a t i n s p i r e d i t changed so fu n d a m e n ta lly t h a t F ra y D iego c o u ld n o t have co m p lete d i t and m a in ta i n e d i t s o p t i m i s t i c t o n e .

IV .

Love p o e t r y .

"AJ- p e n s a m ic n to " (p. 2 0 2 ).

Composed o f t e n f o u r - l i n e s t a n z a s

i n h e p t a s y l l a b l e s , "Al p en saraiento" i s a c o n c e i t i n t e n d e d t o i l l u s t r a t e th e m e n ta l c o n f l i c t o f th e p o e t , who i s u n s u r e o f li is l a d y ' s c o n s ta n c y . I t i s a l s o i n t e n d e d t o show t h a t M i r ta i s a m odel o f c o n s ta n c y ; i f she c o p i e s t h e Sun, t h e Moon, S p r in g and th e Day, she c o p ie s o n ly t h e i r b e a u t y and c o n s ta n c y , r a t h e r th a n t h e i r m u t a t i o n s .

I h i s i s th e

82 c o n c l u s i o n t h a t t h e p o e t draws a f t e r h i s c a v i l s ; i t i s a p p a r e n t l y a f t e r a p e r i o d o f r e v e r i e a n d f e a r f u l im a g in in g s t h a t t h e p o e t beg in s ( l i n e s 1 -8 ): Cesa y a , p e n s a m ie n to , Cesa s i q u i e r a un r a t o De auriientar mis temoros Con p ro p o n e r mis dahos. D eja de r e p e t i r l o ; Quo ya tcn g o n o ta d o i3er p r o p i a l a mudonza De to d o b ie n c r i ado. The p o e t t h e n en u m erates some o f th e changes u n d e rg o n e by n a t u r a l phenomena; h e h a s n o t m entioned M i r ta y e t and h a s giv e n no h i n t o f th e p a ra lle l

t h a t he is

drav rin g .

Ya se que e l s o l hermoso Con c i r c u l o d i a r i o , Si b r i l l a en e l O r i e n t e , Se o f u s c a en e l Ocaso. Ya de l a l u n a h o l l a he a d v e r t i d o en l o s c u a r t o s C r e c ie n te s y m enguantes, A l i e n t o s y decmayos. Se que l a p rim a v e r a Sigue e l seco v e r a n o , Y l a noche f u n e s t a Al d i a a l e g r e y c l a r o . W ith s u c h e x a m p le s o f n a t u r e ’ s c h a n g in g f a c e b e f o r e h im ,

t h e p o e t m ust

needs c o n f e s s t h a t change i s c h a r a c t e r i s t i c o f e v e r y good t h i n g , "De to d o b i e n c r i a d o . "

I t f o l l o w s , t h e r e f o r e ( l i n e s 2 3 - 2 ^ ) , t h a t Mj.rta,

t o o , i s c h a n g e a b le , f o r th e rriu tatio ns i n t h e n a t u r a l w orld Son iinagen muy v i v a Del b i e n que yo i d o l a t r o . At t h i s p o i n t , t h e p o e t a r g u e s w ith h i s own r e a s o n i n g ; o r , p e rh a p s more a c c u r a t e l y , h i s hope arg u es a g a i n s t h i s r e a s o n .

For i f r e a s o n

s a y s t h a t M i r t a ' s a f f e c t i o n s must change even as t h e s e a s o n s ch ang e, i f r e a s o n a r g u e s t h a t M irta c o p ie s t h e s e a s o n s ’ c h a n g e a b i l i t y , hope

83 answ ers ( l i n e s 2 7 -3 2 ): . . . l a s c o p i a en l o b e l l o , no en l o mudabl e y v a r i o . . . Es s o l , mas sie ra p re f i j o ; Es l u n a s i n desmayo. Es p r im a v e ra e t e r n a , Es d i a p e r p e t u a d o . . . liie p o e t r e p e a t s h e r e a f a v o r i t e s i m i l e : beau ty .

M i r ta i s as th e sun i n

I f i n t h i s in s tf in c e lie adds t h a t M ir ta i s f i x e d in h e r r e s o l v e

and c o n s t a n c y , w h ile th e smi moves a b o u t t h e e a r t h , he i s m e re ly t a k i n g p o e t i c l i c e n s e f o r t h e sak e o f c o n t r a s t .

H aving answ ered h i m s e l f

th u s , h a v i n g s t i l l e d h i s own f e a r s , t h e p o e t r e p e a t s th e f i r s t s t a n z a , t h i s tim e p e rh a p s more c o n f i d e n t l y .

Hope a p p e a rs t o have triu m p h e d

o v e r r e a s o n a b l e d o u b t; th e p o e t ends b y s a y in g ( l i n e s 33-^tO) : Pues c e s a , p e n s a m ie n to , Cesa s i q u i e r a un r a t o De aurnentar mis te m o re s Con p ro p o n e r mis d an o s; Que s ie n d o de c o n s t a n c i a M ir ta p r o d i g i o r a r e . Hi e l l a puede m u darse. Hi yo puedo p e n s a r l o . With t h e l a s t two l i n e s , t h e p o e t i r o n i c a l l y d em o lish es a l l h i s p r e v io u s arg um ents i n f a v o r o f M i r t a 's c o n s ta n c y .

Tnough M i r ta may be a p r o ­

dig y o f c o n s ta n c y , t h e p o e t o b l i q u e l y c o n f e s s e s t h a t she w i l l be i n ­ c o n sta n t a f t e r a l l .

'flie l o g i c u n d e r l y i n g t h e l a s t two l i n e s can l e a d

to o n ly one c o n c lu s io n ;

i f t h e p o e t i s c a p a b l e , even r e l u c t a n t l y , o f

c o n c e iv in g o f M i r t a 's i n f i d e l i t y — and he h a s th o u g h t o f i t — , th e n Mi.rta, t o o , i s c a p a b le o f w a v e rin g i n h e r a f f e c t i o n s f o r th e p o e t . "A l p e n sam icn to " i s t y p i c a l o f much o f F ray D ie g o 's lo v e p o e t r y . I t i s n o t i n miy s e n s e p ro fo u n d , n o r does i t b e t r a y any s p i r i t u a l o r p h y s ic a l p a ssio n .

Love i s se e n h e r e i n i t s f a i r e s t form s; i t s d a r k e r

sid e i s n ev er rev ea led .

There a r e o c c a s i o n a l f i t s o f p iq ue and g e n t l e

04

re m o n s tra n c e s betw een l o v e r s b u t t h e r e i s n e i t h e r d e s p a ir n o r e x h ilira tio n .

In o t h e r w o rd s, lo v e does n o t exceed th e bounds o f de­

corous and s t y l i z e d p a s t o r a l c o n v e n tio n .

"C adiz t r a n s f o n n a d o , y d ic h a s sohadas d e l p a s t o r D e lio . (pp. 193- 3.9 4 )

C a n c io n ."

A s e r i e s o f te n dream s, o r " d i c h a s , " forms t h e b a s i s

o f t h i s poem, which i s d iv i d e d i n t o t h i r t e e n - l i n e s ta n z a s o f s e v e n and e l e v e n - s y l l a b l e l i n e s .

Tlie l a s t l i n e o f e v e r y s ta n z a b u t one i s

t h e r e f r a i n "Y e r a s o n a r e l c ie g o que v e i a . "

There .is a m a jo r t e x t u a l

d i f f e r e n c e between th e 33/Jj] and t h e l 8 l 2 and I 817 e d i t i o n s :

th e l a t t e r

e d i t i o n s om it a t o t a l o f f i f t y - t h r e e l i n e s , from l i n e s 73 t o 124, i n c l u s i v e , o f th e BAE v e r s i o n . o m issio n i s i n e x p l i c a b l . e : u n re la te d stan zas.

On t h e b a s i s o f c o n ten t a l o n e , s u c h an

i t s p l i t s two s ta n z a s i n h a l f and j o i n s tvro

A m inor m i s p r i n t in t h e l8].7 e d i t i o n r e s u l t s i n an

u n in t e n d e d r e f e r e n c e to M ir ta as a p u r l o i n e r o f sheep ( l i n e s I 8- I 9 ): Una p a s t o r a , que de rai ganado Los c a n d id e s c o r d e r o s a p a r t a b a . . . The l a s t word s h o u ld r e a d " a p a s ta b a " ; M i r t a , t h e s h e p h e r d e s s , was n o t s e p a r a t i n g th e lambs f o r h e r s e l f , b u t g r a z i n g them. w o rth n o t i n g i s BAS l 4 6 :

Another l i n e

t h e p o e t say s t h a t , t a k i n g a dream t o b e

r e a l i t y , he g e ts o u t of b ed, s t i l l a s le e p , in a h u rry , Y d e s ti n a n d o , ru c d o l a e s c a l e r a , Y cn e l p o r t a l d e s p i e r t o , . . D e s a tin a n d o —l o s i n g my f o o t i n g —would seem t o be t h e word r e q u i r e d by t h e s e n s e , a lth o u g h i t w ould add a n o t h e r s y l l a b l e t o th e l i n e . " T ransform ado" i n th e t i t l e r e f e r s t o t h e t r a n s f o r m a t i o n o f C adiz i n t o hiunarj fo rm , a s e x p l a i n e d i n l i n e s 14 -26 :

85 Sonê (como t r a n s f o r m a E l sueiio l a s id e a s â s u g r a d o ) Que no e r a Cadiz l o que se p e n s a b a , S in o do humana forma Una p a s t o r a , que de rai ganado Los cand ido s c o rd e ro s a p a s t a b a , Y M ir ta s e llaraaba, L le n a de h o n e s t i d a d y de h c r m o s u r a , Centro de d i s c r e c i o n y de f e p u r a , Y yo go zàba en s u e r t e v e n t u r o s a De su v i s t a g r a c i o s a Las veces que q u e r i a ; Y e r a s o n a r e l c ie g o que v c i a . Such i s t h e f i r s t o f th e " d ic h a s sohadas de]. p a s t o r D e l i o ."

I h e memory

o f C adiz a f f l i c t s him d u r in g th e day b u t d i v e r t s him a t n i g h t ; th u s he dreams o f t h e good f o r t u n e t h a t r e a l i t y d e n i e s him.

He dream s,

f o r exam ple, t h a t he can e n jo y th e s i g h t o f M i r t a a t any tim e he w is h e s ; t h a t , when he h a s t o move h i s f lo c k from t h e s h o r e s o f t h e R iv e r T a j o , M i r ta sw ears t o him ( l i n e s 32-38): C i e r t o puedes e s t a r que s i p u d i e r a . Con g u s to t e s i g u i e r a , I la s t a d e j a r l o s abundosos m ares P o r l a t r i s t e e s c a s e z d e l M an zan a re s; P e ro e l alm a, que e s l i b r e , i r a c o n t i g o , 0 q u ed arâ conraigo La t u y a en corapaflia. A n o th er d ic h a s o n a d a i s t o s e e h i m s e l f f o l l o w i n g M i r t a 's f o o t p r i n t s on t h e sandy b e a c h ; he comes upon t h i s m essage w r i t t e n i n t h e sand ( l i n e s ii9 -5 l): "Quien me s ig u e s e r a c o r r e s p o n d i d o ; D e lio l o h a c o n s e g u id o ." Y M irta l o e s c r i b i a . . . The s t a n z a s t h a t a r e j o i n e d t o g e t h e r i n t h e e a r l i e r e d i t i o n s o f " C a d iz tr a n s f o r m a d o " a r e s ta n z a s s i x and t e n o f t h e BAE e d i t i o n . N e i t h e r stan za, h a s any r e l a t i o n s h i p w i t h th e o t h e r ; j o i n i n g them r u i n s t h e e f f e c t o f b o th :

n o t only does t h i s j u x t a p o s i t i o n o f

86

u n r e l a t e d s t a n z a s r e n d e r b o t h in c o m p r e h e n s ib le and p e d e s t r i a n , i t a l s o d e s t r o y s t h e d e l i c a c y o f th e t e n t h s t a n z a , w hich i s t h e b e s t o f t h e e n t i r e poem.

As p r i n t e d i n t h e e a r l i e r e d i t i o n s , t h e two

in d e p e n d e n t c o n c e p ts a r e j o i n e d t h u s a t l i n e s T and 8; Soiie quo M ir ta b e l l a Me m ira b a , y d e c i a con a g r a d o ; " i l ' o r que p a s a s , p a s t o r , l a v i d a t r i s t e ? ï a ceso mi qu erella* , Ya sc que t u cau d a l h as r e t i r a d o D el banco g e n o v e s, donde p e r d i s t e T Jin l o que a l i i im p u s i s t e ; 8 iQue t r e c h o h a b r a desde l a t i e r r a a l c i e l o . P a s t o r ? " Y yo l a d i j e s i n r e c e l o : "Medido de t u majio d i e s t r a m e n t e . Un codo s o l a m e n t e " ; Y e l l a se co in p lacia; Y e r a s o n a r e l cieg o que v e i a . Kie s i x t h s t a n z a s h o u ld c o n t in u e w ith t h e s e l i n e s , as p r i n t e d in t h e CAE : 8 Y to d o p o r e n t e r o l o e m p le a s te En n u e s t r o Cadiz f i e l , donde l o g r a s t e T e n e r inm enso l u c r o y muy s e g u r o ; Yo, M ir ta , t e l o j u r o P o r t o d a l a f e m ia ." Y e r a s o n a r c l c ie g o que v e i a . A r e -re a d in g o f th e e n t ir e sta n z a e s ta b lis h e s i t s b a s ic u n ity , b u i l t upon a monetary c o n c e i t :

D e li o 's caudal r e p r e s e n t s h is a f f e c t i o n s ,

w hich h e had d e p o s i t e d , a t a l o s s , in I t a l y . c a p i t a l now i n C a d iz , D e lio w e a lt h

i s M ir t a ,

H aving r e i n v e s t e d h i s

i s s u r e o f r e a l i z i n g immense w e a l t h .

o f c o u r s e , and she h e r s e l f a s s u r e s him o f

This

h is success.

'Die f o r e g o in g i n t e r p r e t a t i o n o f s t a n z a 6 o f " C ad iz tr a n s f o r m a d o " i s b o l s t e r e d by some l i n e s from "Al Rio G u a d a l e t e . "

In t h i s l a t t e r

poem, th e r i v e r i s t o c a r r y D e l i o 's t e a r s t o M i r t a i n C a d iz ; i f , how ever, h i s t e a r s a r e n o t w e l l r e c e i v e d , t h e p o e t s w e a rs t o a b j u r e h i s amorous song ( l i n e s 91-96):

87

J u r o que ya en mi v i d a lOo a l z a r e en sus a l t a r e s s a c r i f i c i o A l a s a c r a d e id a d que en Cipro m ora; y mi l i r a s o n e r a . En vez de l o s p rim o re s g a d i t a n o s , C a n ta r â l o s b l a s o n e s c a r p e t a n o s . I n o t h e r v o r d s , i f t h e p o e t ' s lo v e i s d i s d a i n e d i n C a d iz , he w i l l h e n c e f o r t h s i n g i n p r a i s e o f I t a l y and h e r g l o r i e s .

V.liatever t h e

e f f e c t o f t h i s t h r e a t upon t h e s h e p h e r d e s s , D elio dreams i n "C ad iz t r a n s f o r m a d o " t h a t h i s amorous in v e s tm e n t i n Cadiz w i l l b e w o rth t h e r i s k and w i11 b r i n g him a much g r e a t e r y i e l d . S ta n z a s 7 and 8 (n o t p r i n t e d in t h e e a r l i e r e d i t i o n s ) convey a f e e l i n g o f e n g a g in g t e n d e r n e s s , as when, i n one o f h i s dream s, t h e p o e t s e e s h i m s e l f w eeping on t h e s h o r e b e c a u s e h e t h i n k s W irta h a s drowned ( l i n e s 8 4 -9 0 ): Vi on l a s aguas fo rm s r s u imagcn b e l l a ; I b a a a r r o ja r m e â e l l a . M i r t a , que e s t a b a a t r a s , s i n yo s a b e l l o , Los b r a z o s dulcem ente me ocha a l c u e l l o , D ic ie n d o : "No t e p i e r d a s p o r h a l l a r m e . S i q u i e r e s ag rad arm e. Pues v iv o t o d a v i a . " A g a in , t h e p o e t s e e s i n a dream t h a t some b e e s a r e a p p ro a c h in g M i r t a ' s l i p s , m i s t a k i n g them f o r a l o v e l y r o s e ; D e l i o , i n s c a r i n g away t h e b e e s , a c c i d e n t a l l y to u c h e s M i r t a 's l i p s ( l i n e s 97 -1 0 3 ): M irta , s o b re s a lta d a , a b rio lo s o jo s ; Yo te m i sus e n o jo s ; Mas v i que me m ira b a c o m p l a c i e n t e , y moviendo l o s l a b i o s d u lc e m e n te . La m ie l que l a s a b e j a s no l o g r a r o n . En mi l a d e s t i l a r o n Con l o que me d e c i a . . . Love i n t h e s e v e r s e s i s t e n d e r , w i s t f u l e v e n ; i t does n o t p a r ta lie o f t h e t r a g i c , n o r docs i t overwhelm i t s v i c t i m s .

I f t h i s lo v e i s o n l y

a dream, i t i s a dream, a t any r a t e , t h a t can be r e c a l l e d i n t r a n q u i l i t y .

88

Novhere i s F ray D ie g o 's p o e t i c s t y l e s e e n t o b e t t e r e f f e c t , n o r t h e in g e n o u s n e s s o f h i s e r o t i c p o e t r y b e t t e r i l l u s t r a t e d , th a n in t h e t e n t h s t a n z a o f "C adiz t r a n s f o r m a d o ."

A]1 th e e f f e c t o f t h i s

s t a n z a i s l o s t in t h e I 8 l 2 tmd l 8 l 7 e d i t i o n s , which p r i n t o n ly th e l a s t s i) i l i n e s .

I n t h i s s t a n z a . F ray D ie g o 's e s t i l o ameno i s most

ap]parcnt ; Gone que, e l d i e s t r o codo F u e s to en e l v e rd e p r a d o , W irta b e l l a Sobre l a b l a n c a mano r e c l i n a b a E l r o s t r o , y de e s t e modo Conmigo co n v c rs a b a c a r i n o s a . Vi que l a v i s t a a l c i e l o l e v a n t a b a Y que me p r e g u n ta b a : ÂQue t r e c h o h a b r â d esde l a t i e r r a a l c i e l o . P a s t o r ? " Y yo l a d i j e s i n r e c e l o : "Medido de t u mano d i e s t r a m e n t e , Un codo s o la m e n te " ; Y e l l a s e c o m p la c ia ; Y e r a s o n a r e l c ie g o que v e i a . E a r l i e r , t h e p o e t h a d e s t a b l i s h e d a p l a c i d to n e w ith such l i n e s as "Los b r a z o s d u lc em en te me echa a l c u e l l o " and "Ko t e p i e r d a s p o r h a l l a r m e , " l i n e s w hich i n d i c a t e l o v e ' s smooth c o u r s e .

TOien t h e p o e t

s a y s , " . . . me m i r a b a c o m p la c ie n te . . . moviendo l o s l a b i o s d u lc e m e n te ," when he sp eaks o f t h e m ie l o r s w e e tn e s s t h a t was d e n ie d t o t h e b e e s , b u t which i s g r a n t e d t o him i n w ords—when he say s a l l t h i s , th e p o e t i s d e s c r i b i n g lo v e a t i t s b e s t , t r a n q u i l and g e n e ro u s .

Ih e la n g u id

t o n e o f t h e e a r l i e r s t a n z a s c a r r i e s o v e r i n t o th e t e n t h s t a n z a and fin d s th e re i t s b e s t e x p re ssio n . ajiiiably w ith tlie s h e p h e r d , D e lio .

M i r t a i s s e e n r e c l i n i n g , c o n v e r s in g Her mind w a n d e rs; i n a v a g r a n t mood,

d i s t r a c t e d l y , s h e a s k s , "iQue t r e c h o h a b r a d esd e l a t i e r r a a l c i e l o . P a sto r? "

Such a q u e s t i o n i s e n t i r e l y c o n s i s t e n t w ith t h e n a t u r e o f

lo v e p o e t r y , as c o n c e iv e d by F ray D iego.

A bsent from t h i s p o e t r y i s

89 th e d ark d e s p a i r , t h e f i t s o f j e a l o u s y , and t h e p r i d e o f p o s s e s s io n t h a t mark t h e e r o t i c p o e t r y o f secu3.ar p o e t s .

Given F ray D ie g o 's c l e r i c a l

s t a t e , i t i s d o u b t f u l t h a t h i s p o e t r y co u ld encompass a v i d e ra n g e o f amorous e x p e r i e n c e .

Fne c o n v e n t i o n a l lo v e d e b a te b etw een l o v e r s is

re d u c e d , t h e r e f o r e , t o i n n o c e n t d i a l o g u e and t o p la y s on v o r d s . M irta i s "D lena de h o n e s t i d a d " and a "C en tro de d i s c r e c i o n " ; i t i s n a t u r a l , t h e n , t h a t sh e r a i s e h e r eyes t o h e a v e n , and t h a t in doing s o , she wonder a b o u t t h e d i s t a n c e betw een heaven and e a r t h . In a way, M irta i s a s k in g how she can g e t t o heaven a n d , a p p r o p r i a t e l y enough, she i s a s k in g t h i s o f h e r p a s t o r .

I t i s as th o u g h , b en ea th

th e v i s i b l e l e v e l o f s h e p h e r d and s h e p h e r d e s s , t h e r e were a n o t h e r l e v e l , i n which th e p o e t - p r i e s t u n c o n s c io u s l y ask s a more s e r i o u s q u e s ti o n .

Both q u e s t i o n s , t h e e x p r e s s e d and th e i m p l i c i t , a r e p o s s i b le

h e r e o n ly b e c a u s e o f t h e u n w o r l d l i n e s s o f th e l o v e r s as F ray Diego p o r t r a y s them .

The sh e p h e rd answ ers " s i n r e c e l o , " t h a t i s t o s a y , w ith

candor and in n o c e n c e e q u a l t o M i r t a ' s . as a maker o f w ords.

But he a l s o answers as a p o e t ,

He p l a y s upon t h e meaning o f " d i e s t r o " and he

u ses "codo" t o mean b o th elbow and c u b i t . t h a t M i r t a 's f a c e i s heaven.

Tlius does t h e s h e p h e r d say

Tlie compliment p l e a s e s h e r , as does the

la n g u ag e i n w hich t h e com plim ent i s couched. In t h e n e x t s t a n z a , t h e p o e t r e t u r n s b r u s q u e ly t o r e a l i t y . He dreams t h a t h e i s c a l l e d away t o Cadiz ( l i n e s 1 3 7 -1 ^ 2 ): " D e lio , l l e g o l a h o r a De que d e j e s l a s s e l v a s y e l g anado. Pues no e r e s p a r a r u s t i c o fomnado; Ven, que en C adiz t e e s p e r a a n s io s a m c n te Con q u ie n e t e r n a m c n te Gozai'âs do t u d i a . " This i s th e l a s t o f t h e d i c h a s s o n a d a s ; th e p o e t , t a k i n g t h i s dream

90 f o r r e a l i t y , r i s e s from h i s b e d and, s t i l l a s l e e p , r o l l s doTO t h e s t a i r s a n d aw ehens, "Banado e l r o s t r o en s a n g re y m a l t r a t a d o " ( l i n e 1)48) , a t t h e door t o h i s h o u s e .

A lthough a flreara has b een t h e ca u se

o f h i s b l o o d i e d f a c e , t h e p o e t p r e f e r s t h a t dream to r e a l i t y , f o r r e a l i t y o f f e n d s him even more w ith t h e b r u t a l t r u t h t h a t a l l h i s d ic h a s w ere o n ly f i c t i o n s .

Thus, t h e p o e t la m e n ts ( l i n e s 1 5 3 -1 5 6 ):

. . . aunque quede d e l sueho mal h e r i d o , Mas que d e l , o fe n d id o De l a v e r d a d , con ceno Mire l a v i d a , y con p l a c e r e l sueho. The l a s t s t a n z a o f f i v e l i n e s i s a d d r e s s e d t o t h e poem i t s e l f , a c c o r d in g t o a fo rm u la t h a t F ray Diego fo llo w s i n o t h e r c o m p o s itio n s as w e l l ( l i n e s 15T - I 6 1 ): Cancion, ve â M i r t a , y d i de p a r t e mia Que s i de mi v e r d a d y amor dudaba, Sepa que s i sonaba E l c ic g o que v e i a , E ra s o l o s o n a r l o que q u e r i a .

" V i s i o n e s de D e lio . Cancion" (p p . 1 8 9 - 1 9 0 ) .

Tlie poem t h a t

c a r r i e s t h i s t i t l e i n t h e BAE i s e n t i t l e d "A M clisa " i n t h e e d i t i o n s o f 1812 a n d 1817 . poem:

None o f t h e e d i t i o n s p r i n t s a co m p lete t e x t o f t h e

F a t h e r Fernandez o m i t t e d two s t a n z a s from h i s e d i t i o n ; Cueto

r e p l a c e d o n l y one o f them i n h i s c o l l e c t i o n f o r t h e BAE; En e l m a n u s c r i te c n v iad o a J o v e l l a n o s p o r e l m a e s tr o G o n zale z, que tenem os a l a v i s t a , hay dos e s t r o f a s que f u e r o n s u p r im id a s en l a e d i c i o n que h iz o e l p a d re F e rn a n d e z . De e l l a s rep ro d u cim o s aq u i un a s o l a . La o t r a no l o merece.^'* O th e r t e x t u a l changes o r d i f f e r e n c e s betw een t h e e d i t i o n s a r e a s f o l l ows : 2 %Cueto, op. c i t . : p. 189, n . 1.

91 L in e s lh~ 26 ( BA.S) a r e n o t i n t h e l8 l2 o r I 8I 7 e d i t i o n s . L in e 5^ (B.AE) :

t h e najne M e li s a o f t h e e a r l i e r e d i t i o n s i s changed t o

r e a d " C a d iz ."

T his change voiild have b e e n n e c e s s a r y i f t h e

poem v e r c o r i g i n a l l y in te n d e d f o r M e li s a and l a t e r d i r e c t e d t o M i r t a , becan.se M e lis a l i v e d i n S e v i l l e , M i r ta i n C adiz. L in e 65 ( B/l'l) :

"Cupido" i s changed t o r o a d " E l amor. "

L in e s 6 6 -6 9 (-B/'dS) a r e n o t in t h e l8 l2 o r I 817 e d i t i o n s . L in e 66 c o n t a i n s a r e f e r e n c e t o M irta which p resu m ab ly would n o t h ave been i n t h e o r i g i n a l i f i t were f i r s t a d d r e s s e d t o M e lis a . Tlie s t a n z a i c form o f "V isio n es de D e lio " i s one f a v o r e d by F ra y D iego:

a t h i r t e e n - l i n e s ta n z a composed o f s e v e n - and e l e v e n -

sy lla b le lin e s .

The r a t i o o f h e p t a s y l l a b i c t o e n d e c a s y l l a b i c l i n e s

v a r i e s from poem t o poem as does the rhyme scheme; i n t h i s c a s e t h e rhyme scheme i s aBCaBCcDDEefF.

Fray Diego b u i l d s t h e poem upon t h e

d e s c r i p t i o n o f a s e r i e s o f n a t u r a l phenomena and t h e i r re s e m b la n c e t o h i s l o v e ; t h e s u c c e s s o f t h e posm depends on w i t h h o l d i n g from t h e r e a d e r t h e key t o t h e s e resem blances betw een lo v e and n a t u r e u n t i l th e f i f t h s ta n z a .

At t h a t t i m e , the p o e t ' s u n d e r l y i n g s i m i l e becomes

clear. F i r s t , t h e p o e t r e l a t e s t h a t h e saw a t i n y r i v u l e t o r s p r i n g : Yo v i un a f u e n t e c i l l .a De manantiaJ. t a n le n to y t a n e s c a s o . Que t o d a e l agua p ura que e n c e r r a b a P u d ie ra r e d u c i l l a Al r e c i n t o b re v is im o de una v a s o . Del pequeho a r ro y u e lo que form aba, P or v e r en que paraba, El curso perezoso f u i sig u ic n d o , Y v i que s i n c e s a r i b a c r e c ic n d o Con e l s o c o r r o de agua p as a j e r a . En t a l

f o r m a y manor a ,

Quo cuando l o he i n t e n t a d o , Ya no pude p a s a r del o t r o l a d o .

92

In t h e seco n d s t a n z a , one o f tlie two n o t p u b l i s h e d i n t h e l 8 l 2 o r I 817 e d i t i o n s , t h e p o e t f o ll o w s t h e c o u rs e o f t h e r i v u l e t , which soon b e ­ comes a m ig h ty r i v e r , d o m in a tin g b r i d g e s and c a r r y i n g on i t s back m a n 's f r a i l s h i p s .

When t h e r i v e r d e l i v e r s i t s a b u n d a n t w a te r s t o

t h e s e a , i t does s o , t h e p o e t j u d g e s , more as a c h a l l e n g e th a n as trib u te .

Th

us

f a r ' i n t h e poem, t h r e e e le m e n ts a r e n o t i c e a b l e :

th e

e le m e n t o f s m a l l n e s s , t e n d e r n e s s , and v u l n e r a b i l i t y which i s i m p l i c i t in t h e S p a n ish d im in u t i v e — " f u e n t e c i l l a , " " a r r o y u e l o " ; t h e e lem en t o f c u r i o s i t y o r in g e n u o u sn e s s t h a t e v e n t u a l l y c a u s e s t h e p o e t t o la m e n t h i s l a c k o f f o r e s i g h t — i n t h i s c a s e , "P or v e r en que p a r a b a . " i s a l s o th e e le m e n t o f s u r p r i s e :

'fliere

h e r o , t h a t such a t i n y r i v u l e t s h o u ld

become such a m ighty r i v e r . Ih e s u c c e e d in g s t a n z a s r e p e a t t h e s e t h r e e e l e m e n t s .

Ihe t h i r d

s t a n z a b e g in s ( l i n e s 2 7 - 3 0 ) : Yo v i Que p o r Y de EU Fuime â

una c e n t e l l i t a c aso â mi p u e r t a h a b i a c a i d o , pcquefiez no h a c ie n d o c u e n t o , d o rm ir s i n c u i t a . . .

As was th e c a s e w ith t h e r i v u l e t , h e r e , t o o , t h e p o e t r e g r e t s h i s l a c k o f ca u tio n :

t h e l i t t l e s p a r k becomes a r a g i n g f i r e t h a t d r i v e s him

from h i s room, b u rn s h i s b e l o n g i n g s , and f o r c e s h im , co n fu s e d and c h a r r e d , t o s e e k r e f u g e on th e r o o f .

Ih e f o u r t h s t a n z a b e g i n s ( l i n e s

40-43): Yo v i un v a p o r l i g e r o . Que a l im pulso d e l s o l s e l e v a n t a b a De l a t i e r r a , do apenas sombra h a c i a . Wo h i ce caso p rim e ro . . . A g ain , t h e p o e t pays f o r h i s n e g l ig e n c e .

Ih e r u s t t o w hich he had

p a i d so l i t t l e h eed becomes a c lo u d t h a t f i l l s t h e sky and h i d e s th e su n .

I t d e s c e n d s , "En g r u e s o s h i l o s dc agua" ( l i n e 4 7 ) , f l o o d s t h e

93 p o e t's

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h i s l o v e f o r M i r t a ( l i n e s 53~6f)): En f i n , y o v i e n mi p e c h o N a c e r , C a d i z , t u arnor, y f a c i l f u e r a En c l p r i n c i p i o h a b e r l o c o n t e n i d o ; M as, p o c o s a t i s f e c h o Con v e r s u o r i g e n , q u i s e v e r - c u a l e r a S u f i n , y d e rai d a n o n o a d v e r t i d o , H a.llo un r i o c r e c i d o . Que â t o d a l i b e r t a d me c o r t a e l p a s o ; H a l l o u n v o r a z i n c e n d i o , o n q u e me a b r a s o j H a l l o u n a t e m p e s t a d , q u e me a r r e b a t a Y de anegarrae t r a t a . iAy! I Con c u a n t a i n c l e i n e n c i a E l am or c a s t i g o mi n e g l i g e n c i a ! T h is s t a n z a u n i f i e s th e p re c e d in g

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and

W ien t h e p o e t s a y s t h a t t h u s

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o r o th e rw ise ,

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s to rm o f w h ic h h e h a d j u s t

9^+ P e rh a p s i t v a s i n o r d e r t o a c h ie v e g r e a t e r u n i t y t h a t F a th e r F ern and ez l e f t o u t what i s now t h e seco n d s t a n z a ; t h i s w ould have l e f t one s t a n z a each f o r th e r i v a l e t h e s p a r k , and th e m i s t . would be a more compact and e f f e c t i v e poem.

Tlie r e s u l t

Hie f i n a l q u a t r a i n i s a

c o n v e n t io n a l e n d in g , an a d d i t i o n t l i a t F ray Diego maJoes t o o t h e r cancion e s as vrel.l: Cancion, ve y d i l e a M ir ta , dc mi p a r t e . Que sc digne s i q u i e r a de l e e r t e , Ï s i a c a so a c e r t a r c â i n t e r p r e t a r t e , Yuelve a decirm e ta i: d ic h o s a s u e r t e .

"A V e c i n t a desd en o sa" (pp. 1 9 0 -1 9 1 ).

A n o te accom panying t h i s

poem q u o te s a l e t t e r from F ra y Diego t o "un in tim o amigo su y o , que se h a l l a b a en S e v i l l a " ; t h i s f r i e n d

whose name i s n o t g i v e n , may have

been F ray M iguel dc M iras, F ra y D ie g o 's f r i e n d and c o - r e l i g i o n i s t in S e v ille .

F ray Diego w r i t e s :

Te h e de d e b e r e l f a v o r de que l a can c io n a V e c i n t a d e s d e n o s a , p o r nin gu n t r t u l o v ay a â C a d iz , no s e a que de en l a s manos de M i r t a , y se d esaao n e e s t a , juagando l o que no h ay ; pues De l i o no tu v o mas a s u n to en com ponerla que l o s rueg os de sus amigos r a a t r i t e n s e s , a l v e r que c i e r t a s e n o r i t a v e c i n a s o l o m irab a con a g rad o a ciertç)^ t u i r b a o l l a s > y â l o s demas nos m ira b a con c i e r t o des den y ceno. Cueto does n o t g iv e th e d a t e o f t h e l e t t e r n o r does he i n d i c a t e th e p la c e o f o r i g i n , b u t from t h e l i n e s q u o te d and from a r e f e r e n c e w i t h i n th e poem i t s e l f i t can b e s u r m is e d t h a t I ’r a y Diego was i n M adrid r a t h e r th a n Salam anca when he w ro te t h i s song t o V e c in ta . As i n " V is io n e s do D e l i o ," t h e f o r m - is a t h i r t e e n - l i n e s t a n z a o f s e v e n - and e l e v e n - s y l l a b l e v e r s e s .

The rhythm o f "A V e c in t a d e s ­

denosa" i s more s p r i g h t l y , how ever, b e c a u s e o f t h e g r e a t e r i n c id e n c e

^ ^ I b i d . , p . 19 0, n . 1 .

95 o f sev e n -sy lla b le lin e s .

One o f t h e c h a r a c t e r i s t i c s o f F ra y D ie g o 's

p ro s o d y which i s n o t i c e a b l e i n t h i s poem i s th e r e p e t i t i o n o f l i n e s from o t h e r poems.

ïTie v e r y f i r s t l i n e o f "A V e c in ta d esdenosa" r e c a l l s

th e f i r s t l i n e o f t h e ode t o a " p o l i t i c o s e v e r o " :

th e l a t t e r re a d s

" i P o r cue t a n r i g u r o s o . . . ? " ; th e f o r m e r , " iP o r que t a n d e s d e n o s a . . .? " L in o s 53 and A l a noche f u n e s t a Sucede e l c l a r o d i a r e c a l l t h e l i n e s from "A1 p e n s a n iie n to ," Si gue . . . . . . l a noche f u n e s t a A1 d i a a l e g r e y c l a r o . L in e 5 8 , "En g ru e s o s h i l o s de agua b a j a a l s u e l o , " r e p e a t s l i n e s from " V i s i o n e s de D e lio ": Y a l su elo d escen d ia En g r u e s o s h i l c s da agua . . . L in e 71, "D elio ! v u e lv e en t u c o r d u r a , " i s an echo o f " I'o rn a , oh c a r o L i s e n o , en t u c o rd u ra . . . " ,

from "A L i s e n o ."

And l i n e s 76- 7 8,

. . . h a s d e jad o Las ab undosas mares F o r l a t r i s t e e s c a s e z d e l M anzanares. r e p e a t t h e f o ll o w i n g l i n e s from "C adiz tr a n s f o r m a d o " : Con g u s to t e s i g u i e r a H a s ta dej a r l o s abundosos mares F o r l a t r i s t e e s c a s e z d e l M anzanares. On page 198 o f th e BAl! t h e r e a p p e a rs an u n t i t l e d frag m e n t o f t h i r t e e n l i n e s which i.s , w i t h th e e x c e p t i o n o f two l i n e s , a r e p l i c a o f t h e f i f t h s ta n z a o f "A V e c i n t a d e s d e n o s a ."

L in e s 7 and 13 o f t h e f r a g ­

ment r e a d , r e s p e c t i v e l y , "Y s e d escu b re e l c i e l o " and "De mi f o r t u n a a i r a d a e l ceno e s q u i v o . "

These same l i n e s in "A V e c in ta d esdenosa"

r e a d "Y c l ceno q u i t s a l c i e l o " and " V e c in ta , en t u se m b la n te e l ceHo

96 G s q u iv o ."

G iv e n F r a y D ie g o 's p r o p e n s i t y

be d e d u c e d t h a t h e com posed t h i s desdenosa"

and l a t e r

The n a t u r e

of

th is

u o u l d m ake i t to M e lisa ,

t o borrovr from h i m s e l f ,

frag m en t in d e p e n d e n tly o f

in c o rp o ra te d i t

in to

stan % a— th e lo v e r

th is

F ilis,

L isi,

to

M irta

is

th e

reaso n

W irt a 's

hands.

o f F ray

D i e g o 's f r i e n d s

o r th e

fo r h is

fifth

sto n % a.

d is d a in f u l V e c in ta . to V e c in ta r a th e r

concern t h a t i t n o t f a l l in to

T n e po e m i s o n l y a t r i n k e t , and c o n ta in in g

w ritte n a t th e

in siste n c e

fra g m e n ts o r re m in is c e n c e s o f

f i v e o t h e r poems: b u t b e c a u se i t c o n t a i n s th e se l i n e s No d e s p r e c i e s ,

"A V e c i n t a

poem s, w h e th e r a d d r e s s e d

Tae f a c t t h a t F r a y D i e g o a d d r e s s e s t h i s p o e m th a n

may

c o m p la in in g o f u n r e q u ite d lo v e —

a p p r o p r i a t e t o any one o f s e v e r a l

flirta ,

poem a s th e

it

V e c in ta ,

â q u ien t e

66-70),

ad o ra

...

îA y , D e l i o f e m e n t i d o l Qiiizii. p o r o u s c l v i d a s t e De M i r t a g a d i t a n a l a f e p u r a , Al c ie lo has o fe n d id o , Las d io sa c e n o ja s te . it

o b v io u sly

c a n n o t b e s e e n by M i r t a .

D ieg o w ro te t o f o r M irta:

Jo v e lla n o s

"...

no cabe en e l o t r a

cosa;

que i m a v e z a m o ."

b e tw e e n

"A V e c i n t a d e s d e n o s a " a n d t h e

poet is

in

th e p o s itio n

a d m ir e r from a f a r . M irta ,

or h is

m ore l i t e r a r y

th a n

M a d rid .

of th e

lo v e

o f course,

a c e rta in

sim ila rity

l o v e ]poemo a d d r e s s e d t o M i r t a :

su p p lia n t, th e p e titio n e r , F r a y D ie g o 's l o v e

th e

fo r M e lisa o r

f o r V e c i n t a , w^as p l a t o n i c a n d c o n v e n t i o n a l ,

am or; p e rh a p s

w ere i n S e v i l l e

In l i n e s

t h a t F ray

e s n a t u r a l â e l n o d e j a r de

a c t u a l , m ore p o s e t h a n p a s s i o n .

w o u ld n o t a d m it o f lo c o am orous v e r s e s

T here i s ,

Of n e c e s s ity .

fe ig n e d lo v e

w ill b e r e c a lle d

t h a t D e lio w o u ld be f a i t h f u l in h i s

am ar lo

th e

It

H is c l e r i c a l s t a t e

t h a t i s why t h e

an d C a d iz r a t h e r

o b je c ts

th a n i n

21-2H, t h e p o e t s u m s u p t h e p r i e s t ' s

o f h is

S alam an ca o r am orous f a t e :

97 . . . e l h a b e r sie m p re amado A l a a L ic e c e s q u iv a s 0 Daf'nes f u g i t i v a s E s t a iiii e s t r e l l a , e s t e es ini h ad o . "Al

Rio Cu^idalete. Can c io n " (p . 190 )i A n o th er i n a s e r i e s o f

poems w r i t t e n t o r i v e r s , " A l Rio G u a d a le te " i s , s t r i c t l y s p e a k i n g , a lo v e poem^ th e p o e t a d d r e s s e s t h i s p a r t i c u l a r r i v e r b e c a u s e i t flow s i n t o t h e bay o f Cacb’z , t h e c i t y o f M i r t a 's r e s i d e n c e .

Y et, t h a t p a r t

o f t h e poem t h a t e x p r e s s e s t h e l o v e r ' s p l a i n t i s n o t t h e most p r o ­ v o c a t i v e ; r a t h e r , i t i s t h e g e o g r a p h i c a l a s p e c t o f t h e poem t h a t i s most memorable. The s e t t i n g i s th e e x tre m e s o u th e r n p o r t i o n o f S p a in , i n th e r e g i o n between Cadiz and M alaga; more p r e c i s e l y , from t h e h e a d w a te r s o f th e

Rio G u ad ale te on t h e n o r t h e r n s lo p e

dO'-.j'.'U Lrc.am p a s t Arcos de l a E r o n t e r a t o S I C a d iz . From

o fth e S e rra n ia

de Honda

P u e r to d-e S a n ta

M a ria and

th e o u ts e t, th e p o e t e s ta b lis h e s th a t th e r i v e r

a s in u o u s c o u r s e

f o llo w s

as i t a p p r o a c h e s t h e s e a ; t h e f i r s t o c t a v a r e a d s : G u a d a le te g r a c i o s o . Que en r e p e t i d o s t o r n o s d i v i d i d o , E l c u r s o h a s s u s p e n d id o . Que h a s t a Arcos s e g u i a s p r e s u r o s o , Y en l a p e r e z a con que de e l t e a l e j a s , Das â e n t e n d e r que d e ja s Con r e p u g n a n c ia su t e r r e n e b r u t e , R etard an d o a l Oceano e l t r i b u t e .

In h i s a p o s tr o p h e , t h e p o e t s a y s t h a t i f th e r i v e r knew how im p ru d en t i t s w in d in g c o u rs e w as, i t w ould q u ic k e n i t s pace ( l i n e s 1 5 - 1 6 ) , For l o g r a r m a jo r a i r e , m ajo r s u e l o . Major s o l , m e jo r l u n a , m ejor c i e l o . Above A rco s, t h e r i v e r h a d riui r a p i d l y ; downstream from Ai'cos, t h e riv e r

seems t o b e t a r r y i n g , t u r n i n g b ack upon i t s e l f as i f

lo a th

to le av e th e area .

i t w ere

Tlie p o e t , on t h e o t h e r h a n d , i s a n x io u s t h a t

98

th e r i v e r a c c e l e r a t e i t s p a c e , b eca u se i t i s t o b e a r a message t o Cadiz and t o M i r t a .

He t h e r e i 'o r e ask s th e r i v e r why i t seems u n w i l l i n g

t o le a v e such a h a r s h l a n d ( l i n e s 1 7 - 2 4 ) : iQue t i e n e e s t e t e r r e n o , Que pueda p a r e c c r t e d e l i c i o s o ? Es as'pero, f r a g o s o . D é s ig n a i, pefiascoso, nada ameno. Que v e r l e , a l corazon c u b re de l u t o ; Y s e r te rre n o b ru to Tu r e p e t i d o to r n o l o a s e g u r a . Pues con uno l e foniias l a h e r r a d u r a . Y et, f o r a l l t h e h a r s h n e s s o f t h e l a n d s c a p e , i t i s n o t e n t i r e l y d e s o l a t e ; in t h e d i s t a n c e t h e r e i s a v i l l a g e t h a t i s a t once a t t r a c t i v e , r e m o t e ,. and m y s te r io u s ( l i n e s 2 5 - 3 2 ) : Hi d e te n g a t u p a so La v i s t a (aunque p a r e c e a p e t e c i b l e ) De un p u e b lo i n a c c e s i b l e , De to d a s o c ie d a d y b i e n e s c a s e ; Do c a s a s o b r e c a s a f a b r i c a d a , Una en o t r a apoyada. V in c u lan c i e r ta m e n te su c a i d a . F o r d iv i n o p r e s a g io p r e v e n i d a . One o f t h e d i f f i c u l t i e s o f t h i s poem i s t h e i n t e r p r e t a t i o n o f th e l a s t two l i n e s :

A p a r t from mere a g e , why s h o u ld t h e h o u s e s o f t h i s i n ­

a c c e s s i b l e v i l l a g e be doomed to f a l l ?

Tlie p u e b l o i s b u i l t i n th e

Moorish f a s h i o n — " c a s a s o b r e c a s a . . .

una en o t r a ap o y ad a " — ; i t i s

rem ote from t h e a m e n i t i e s o f s o c i e t y ; i t s i n h a b i t a n t s may be l a r g e l y Arab o r J e w is h , m o z a r a b e s , m o r is c o s , o r c o n v e r s e s .

In any c a s e , th e

p o e t f o r e s e e s t h e f a l l , b o t h p h y s i c a l and s p i r i t u a l , o f t h e v i l l a g e b e c a u se o f r e l i g i o u s d i v i s i o n w ith i n i t s w a l l s ( l i n e s 33-Ho): IDesvc'.nturada g e n t e . Quo en p u n to do sus d i e s e s d i v i d i d a . S e r a d e s a te n d id a Su o f r e n d a , como c u l t o i r r e v e r e n t e l P ues nada fu e a c e p ta b l e n i p r o p i c i o A Dios e l s a c r i f i c i o

99 Q u e , e n v e z de u n i r l a s g a n t e s e n c o n c o r d a n c i a , Es in i:îo rt;il o r i g e n de d i s c o r d i a . T iiis

s ta n z a h e lp s to

c e d in g s ta n z a , b u t

e x p la in

o n ly in

refe ren ce to re lig io u s

som ewhat t h e l a s t

g e n e r a l te rm s.

It

tw o l i n e s

does n o t c l a r i f y

th e

d i v i s i o n , w h ich seem s t o b e m ore a phenom enon

o f th e K id d le A ges th a n

o f th e

e ig h te e n th

c e n tu ry .

t h a t t h e d i v i s i o n w as among C h r i s t i a n s , f o r i t a (q u estio n o f dogm a, b u t o f g o d s . h e e id io rts

o f th e p re ­

th e r i v e r to

is

I t w o u ld n o t seem not a d iv isio n

Such h e r e s y o f f e n d s

co n tin u e i t s

f a i t h f u l w o r s h i p p e r s o f God ( l i n e s

c o u rs e to w a rd t h e

over

t h e p o e t and la n d s

o f th e

k l-4 8 ):

De t a n t o d e s a c a t o •R e tira , G u a d a le te , tu s c r i s t a l e s , A n te s que t a n t e s m ales M a n c i l l e n s u p u r e z a co n e l t r a t o ; Y y a de c o n f u s io n y h o r r o r c u b i e r t o . S ig u e d e re c h o a l p u e r to . De .do p a r t e n a l e g r e s l o s b a j e l e s A l g r a n d e e m p o r i o de l a s g e n t e s f i e l e s . B e f o r e F r a y D ie g o i n t r o d u c e s t h e am o ro u s t h r e a d o f t h e poem , ho m ak es o n e m ore r e f e r e n c e fo re

lo n g ,

riv e r;

a trib u ta ry

th is

to

tlie p e o p le o f t h e m o u n ta in v i l l a g e :

o f th e G u ad alete s h a l l add i t s

new a d d i t i o n

o f w a te r to th e

w a te rs

G u a d a le te w i l l g iv e

be­

to th e it

a id and

g r e a te r speed ( l i n e s P a r a q u e , h u y e n d o de l a g e n t e f i e r a , L le g u e s p r e s t o a l a d ic h a que t e e s p e r a . Up t o

th is

p re c ise ,

p o in t,

even.

p a s t o r a l m ode.

"A l R io G u a d a le te " h a s b e e n g e o g r a p h i c a l l y

In t h i s

One o f t h e

sc h o o l is th e e v a sio n A rc a d ia . c la ssifie d

re sp e c t,

as p a s t o r a l

d e p a rts

c h a ra c te ristic s

of re a lity

J u d g e d on t h i s

it

b a sis

p o e try .

from tlie

sp e c ific ,

c o n v e n tio n a l

a lre a d y n o te d o f th e

and tlie v ag u e g e o g ra p h y o f i t s

a lo n e ,

S a lam an can p o e tic

"A l R io G u a d a l e t e " c a n n o t b e

F u rth e rm o re , in

th is

poem t h e

su b je c t

100 o f r e l i g i o n an d o f t h e C h r i s t i a n god i n t r u d e s i n t o th e p an th eo n o f co n v en tio n al p a s to r a l p o etry .

F ra y D ie g o , t h e p a s t o r a l p o e t by

a v o c a t i o n , was a p r i e s t b e f o r e a l l e l s e ; i n m a t t e r s o f r e l i g i o n , h i s v o c a t i o n h e l d sway.

So i t i s t h a t , i n a poem such as "Al Rio G u a d a l e t e , "

t h e q u e s t i o n o f r e l i g i o n i n j e c t s a j a r r i n g n o te i n t o a c o n v e n t io n a l and s t y l i z e d g e n r e . Only i n t h e e i g h t h s t a n z a does F ra y D iego b e g in w hat can p r o p e r l y b e c a l l e d t h e l o v e r ' s p l a i n t ( l i n e s 57-6U ): De amargo s e n t i m i e n t o Mis la g rim a s v e r t i d a s p o r p r e s e n t e Agrego â t u c o r r i e n t e P a r a h a c e r mas v e l o z s u m ov im ien to. Hi t u c a u d a l, p o r d u l c e , con d e s v io Desdene e l l l a n t o mio; Q u e , aunque t i e n e * en s u o r i g e n am argura. La p i e r d e en mis c a n a l e s de d u l z u r a . The f o l l o w i n g s t a n z a c o n tin u e s i n t h e same v e i n , a lth o u g h a m i s p r i n t i n t h e BAE c o m p le te ly r e v e r s e s t h e s e n s e o f t h e l a s t l i n e ( l i n e s 65-

12) : A si q u e, e n r i q u e c i d o Con t a l c a u d a l , c o r r i e n d o p r e s u r o s o , Por p u e rto d e lic io s o D aras a], mar t r i b u t e e n c a r e c i d o ; Y a l i i , con t u s c r i s t a l e s c o n f u n d id a s , M s la g r im a s sent;! das P odran l o g r a r l a v e n t u r e s a s u e r t e Que l e es dada a l t r i s t e que l a s v i e r t e . The l a s t l i n e s h o u l d r e a d "Que no l e es d ad a a l t r i s t e que l a s v i e r t e " ; such i s t h e r e a d i n g o f t h e I 8 l 2 and I 817 e d i t i o n s .

And t h i s i s t h e

o n l y r e a d i n g c o n s i s t e n t w ith th e i n t e n t o f ' t h e p o e t - n a r r a t o r , w hich i s t o s e n d t h e t e a r s o f "un a u s e n te d e l g a d i t a n o s u e l o " to Cadiz by way o f t h e R iv e r G u a d a le te .

T h is i n t e n t o r u n d e r s t a n d i n g i s c l e a r l y

s t a t e d in s t a n z a elev en ( lin e s 82-8b):

101 Dn, G u a d a le te , a l m ar, como as d e b i d o , El caudal re c ib id o , Pues con ta], c o n d i c io n t e fue e n t r e g a d o . The r i v e r s h a l l pay h i s due t r i b u t e t o t h e s e a , r e t u r n i n g t o t h e s e a a l l t h e w a t e r r e c e i v e d from i n l a n d s o u r c e s .

Tlie p o e t ' s t e a r s , on t h e

o t h e r h a n d , s h a l l rem ain i n Cadiz and s h a l l pay a l o v e r ' s f e e ( l i n e s

87- 8 8 ) . . . a seno m e jo r que l a s r e c i b a ; Que a lg o t i e n e de mar q u ie n l a s m o tiv a . Here t h e p o e t i s p l a y i n g w ith w ords:

h e u s e s seno i n th e s e n s e o f

l a p o r bosom and a l s o i n t h e s e n s e o f g u l f o r b a y .

Cadiz h a s bouh a

g u l f and a b a y t h a t b e a r i t s narae; a b a y , i t can b e s a i d , " a l g o t i e n e de m a r ."

So i t i s w ith th e Bay o f C S diz, and so i t i s , t o o , w i t h

M i r t a , s h e who i s t h e m o tiv e o f t h e p o e t ' s t e a r s and who h as so m eth in g o f th e sea about h er.

The p o e t i s n o t c l e a r on t h e s i m i l a r i t y betw een

M i r t a and t h e s e a , how ever; h e o n ly h o pes t h a t h i s t e a r s w i l l be w e l l re ce iv e d .

I f h i s t e a r s are n o t w ell r e c e iv e d , th e p o e t is p re p a re d to

f o r e s w e a r l o v e and t o c e a se s i n g i n g M i r t a ' s p r a i s e s ( l i n e s 8 9 - 9 6 ) : Y s i en c a s o im p r o p ic io No h a l l a n en e s t e mar b u e n a a c o g i d a , J u r o que y a en mi v i d a No a l z a r ê en s u s a l t a r e s s a c r i f i c i o A l a s a c r a d e i d a d que en Cipro m ora; Y mi l i r a s o n o r a , En v ez de l o s p rim o re s g a d i t a n o s , C a n ta r a l o s b l a s o n e s c a r p e t a n o s . R e f e r e n c e s t o A p h r o d ite , C yprus, a n c i e n t I t a l y , s a c r i f i c e s , and t h e p o e t ' s l y r e g iv e t o t h e ' f i n a l s t a n z a t h e C l a s s i c a l ton e t h a t i s l a c k i n g i n t h e r e s t o f th e poem.

F o r t h e most p a r t , "Al Rio G u a d a le te "

i s campest r e , i n t h e s e n s e t h a t i t d e a l s w ith t h e S p a n is h c o u n t r y ­ s i d e ; b u t i t does so i n such d e t a i l t h a t i t can n o t p r o p e r l y b e c a l l e d

102 b u c o l i c o r p a s t o r a l , in t h e c o n v e n t io n a l s e n s e .

T h is i s n o t t o sa y

t h a t t h e d e s c r i p t i o n s a r e i n e f f e c t i v e ; on t h e c o n t r a r y , th e y a r e v e i l c o n c e iv e d , as i n l i n e s 1 7 -3 0 .

But f o r a l l t h e i r e f f e c t i v e n e s s — in d e e d ,

b e c a u s e o f i t — t h e s e d e s c r i p t i o n s a r e o u t o f t h e u s u a l p a s t o r a l mode. VJhat r e s u l t s p a rtia lly

is

a po e m t h a t i s

am orous; i t s

o n ly s u p e r f i c i a l l y

m ost i n t e r e s t i n g

fa c e o f S p a in as p ic t u r e d b y a r e a l i s t i c

" E l t r i u n f o de M anzanares.

p a s t o r a l and o n ly

lin e s have to

do w i t h t h e

p o e t.

Cancion" (pp. 1 9 2 - 1 9 3 ) .

A le tte r,

d a t e d a t Tormes, F eb ru ary 13 , 1776, h e l p s o n ly s l i g h t l y i n e x p l a i n i n g th is

poem .

F r a y D ieg o w r i t e s

t o F r a y M ig u e l de M r a s :

Q u i s i e r a e s t a r mas desocupado de l o que me h a l l o , p a r a e n v i a r t e una c o p i a de l a can c io n t i t u l a a a E l T r i u n f o de M an zan a re s, que un t a l D e lio compuso con o c a s io n d e l d e c r e t o u ltim a m e n te ganado en e l C onsejo c o n t r a o t r o que v in o d e l T i b e r s o b r e l a B e t i c a m o îin s tic a , como t ü sab es inuÿ b i c n . ^ From t h i s l e t t e r ,

and from r e f e r e n c e s w i t h i n t h e poem, i t can b e i n ­

f e r r e d t h a t t h e S panish r e l i g i o u s o r d e r s , o r p e rh a p s j u s t t h e A n g u s tin ia n o r d e r , won an im p o r ta n t v i c t o r y o v e r c o n t r o l by Rome.

Of t h e poem 's

t w e n t y - t h r e e o c t a v a s , f i f t e e n have t h i s v i c t o r y as t h e i r them e. d e a l i n a g e n e r a l way w ith t h e S p a n ish c o u n t r y s i d e .

Four

Only t h e l a s t f o u r

can be s a i d t o have a n y t h in g t o do w i t h t h e theme o f l o v e .

To t h e

e x t e n t t h a t t h i s i s s o , " E l t r i u n f o de M anzanares" can h a r d l y b e c a l l e d a lo v e poem; y e t , o n ly b e c a u s e o f t h e l a s t f o u r s t a n z a s a b o u t M i r t a does t h e poem have any i n t e r e s t .

Hie p a r t i c u l a r c i r c u m s ta n c e s s u r r o u n d in g

t h e q u a r r e l betw een Madrid and Rome a r e unknown and, a t t h i s p o i n t in tim e , u n im p o rta n t.

Z^ i b i d . , p. 192 , n. 1.

103 Tliroughout much o f Fray D i e g o 's p o e t r y , r i v e r s f i g u r e i m p o r t a n t l y . As p e r s o n i f i c a t i o n s , some a r e e n j o i n e d t o c a r r y messages f o r t h e p o e t ; o t h e r s h e a r w i t n e s s t o contem porary e v e n t s o r f o r e t e l l t h e f u t u r e . F re q u e n tly , a ls o , r i v e r s stan d f o r a c i t y o r a re g io n ; th u s , in t h i s poem, M anzanares s t a n d s f o r M adrid, T i b e r f o r Rome, Tormes f o r S a l a ­ manca, an d B e t i c a (an a d j e c t i v e from B e t i s , t h e G u a d a lq u iv ir ) f o r A n d a lu s ia n .

C o n s e q u e n tly , F ray D iego h a s f r e q u e n t r e c o u r s e t o w a te r

im a g e ry ; f o r exam ple, c a u d a l, o r i l l a s , a r e n a s , c o r r i e n t e , r a u d a l .

Of

a l l F r a y D ie g o 's poems, t h i s one h a s t h e most r i v e r s i n i t —n i n e i n a ll.

B e s id e s t h e " P r e c io s o M anzanares” o f t h e t i t l e , t h e r e a r e t h e

fo llo w in g :

" e l muy e x te n d id o G u a d ia n a ," " e l Ebro d e l e i t o s o , " " e l

B é t i s a b u n d o s o ,” " e l hondo D u e ro ,” " e l T ajo a b a s t e c i d o , " " e l a p r e s u r a d o G e n i i , " " e l T ib e r t u r b u l e n t e , " and " e l p a d re Torm es," Q ilJ " a p a c i b l e Tormes a r g e n t a d o . "

Because o f t h e " T r i u n f o de M an zan ares," a l l t h e s e

S p a n is h r i v e r s a r e f r e e from th e menace o f t h e T i b e r ( l i n e s 4 l - 4 S ; 57-6 ^0: Del T i b e r , avezado A h a c e r tem er â t o d a s l a s n a c io n e s Con sus in u n d a c io n e s . . . !Ay, c u a n ta d e s v e n t u r a A l a b ë t i c a g e n te a c o n t e c i e r a , S i Jove p e r m i t i e r a Cumplir d e l crudo T i b e r l a l e y d u ra i ICuantos males s u f r i e r a n , c u a n to s dahos P a s t o r e s y re b a n o s I Todo f u e r a t r a s t o r n o y f a l t a de 6 rd e n , E x t r a h a c o n f u s io n , c i e g o d e s d rd e n . I t can o n ly b e c o n j e c tu r e d now w h e th e r F ray Diego o r anyone e l s e w i t h i n h i s c i r c l e o f r e a d e r s was s t r u c k by t h e p a ra d o x o f u s i n g pagan im agery t o d e s c r i b e t h e i n t e r n a l w o rk in g s o f t h e C a th o lic c h u rc h .

It

was j u s t su ch commingling o f d i s p a r a t e , in d e e d c o n t r a d i c t o r y , e le m e n ts

lOU

t h a t i n s p i r e d th e w r a th o f F o r n e r , a l th o u g h t h a t w rath was n o t d i r e c t e d a t F ray D iego.

" E l t r i u n f o de M anzanares" combines th e most d i v e r s e

e le m e n ts , from "Los n é g o c ie s mas g r a v e s " on th e banks o f t h e R iv e r t o P r o t e u s , M ars, V en u s, and " E l coro fe ra e n il de l a s v e s t a l e s . "

I n one

i n s t a n c e , how ever, C h r i s t i a n and pag an im agery c o i n c id e in m e an in g , as i n th e c a s e o f " P a s t o r e s y r e b a n o s " ; h e r e , p a s t o r r e c a l l s b o t h t h e b u c o l i c p o e t r y o f C l a s s i c a l a n t i q u i t y and t h e C h r i s t i a n r e p r e s e n t a t i o n o f th e p r i e s t as t h e s h e p h e rd o f a f l o c k .

Such r a r e c o i n c i d e n c e s o f

meaning a p a r t , t h e r e i s a b a s i c d i s j o i n t e d n e s s t o t h i s poem:

i t is

p a r t l y an o c c a s i o n a l poem, p a r t l y a paean t o A n d a lu s ia , and p a r t l y a lo v e poem.

I n t h i s r e s p e c t i t i s s i m i l a r t o "Al Rio G u a d a le te . "

Even a s t h e p o e t h ad asked t h e R iv e r G uad alete t o convey h i s t e a r s t o C ad iz, so h e r e th e p o e t a s k s th e R iv e r G e n ii, w hich r i s e s in t h e S i e r r a Nevada c l o s e t o Cordoba and em p tie s i n t o th e G u a d a l q u i v i r , t o f i n d i t s way t o C adiz and t o t e l l M ir ta o f D e l i o 's lo v e ( l i n e s 159- 1 6 8 ). . . . d i l e de mi amor c u a n to t u p u e d a s . Con que an ad a s que sie m p re c o r to qued a s . D i l e que en l a r i b e r a D el a p a c i b l e Tormes a r g e n ta d o A p a s ta su ganado E l t r i s t e D e li o , cuya s u e r t e f i e r a (Q u iz a p o r a p a g a r s u l l a m a a r d i e n t e ) Lo t i e n e de e l l a a u s e n t e ; P e ro a n t e s s e r a e l mundo p i e z a s hecho Que f a i t e M i r ta b e l l a de s u pecho. T his s t a n z a s t a t e s a g a i n D e l i o 's o f t - r e p e a t e d vow o f f i d e l i t y t o M ir ta . He vowed t o c o n t in u e l o v i n g h e r even i f sh e c e a se d t o an sw er h i s l e t t e r s , as a p p a r e n t l y she d i d a f t e r 1778.

In t h i s poem o f th e y e a r 1 77 6,

w r i t t e n b e f o r e he was a s s a i l e d by d o u b ts ab ou t t h e p r o p r i e t y o f h i s w r i t i n g amorous v e r s e . F ray Diego c o u ld s t i l l i n d u l g e p o e t i c a l l y t h e

105 p a s s i o n t h a t h i s c l e r i c a l s t a t e d e n ie d him .

He c o n t in u e s ( l i n e s

169 - 1 7 6 ): D i l e que no che y d i a . Con p a s t o r i l zampona 6 d u lc e a v e n a , Por d i v e r t i r l a pena, E l nombre de s u M i r t a a l c i e l o e n v i a , Y o lv id an sus o v ejas lo s p a s to r e s P or o i r sus l o o r e s , y e l pecho a l z o t a l vez d e l ancho a s i o n t o El p a d re Tormes, y a t e n d i o â s u a c e n to . Y ears l a t e r . F ray D iego w i l l m odify t h e l a s t c o u p l e t and u se i t in " L l a n t o de D e lio y p r o f e c i a de M an z a n a re s" ; t h i s tim e th e r e f e r e n c e w i l l b e t o F ra y Juan F ernand ez de E o ja s i n A l c a l a de H enares: Y t a l vez e l H enares A lz6 e l pecho a t e n d ie n d o â su s c a n t a r e s . The r e p e t i t i o n o r m o d i f i c a t i o n o f an e a r l i e r l i n e i s i n k e e p in g w ith F r a y D ie g o ’ s p r a c t i c e o f b o r r o w in g from h i m s e l f . S i m i l a r l y , t h e t h i r d l i n e o f " E l t r i u n f o de M anzanares" con­ t a i n s a r e f e r e n c e t o t h e r i v e r ’ s s c a r c i t y o f w a t e r ; t h e same th o u g h t o c c u r s i n "A V e c in t a d esd en osa" and " C â d iz tr a n s f o r m a d o ," i n b o th o f w hich t h e p o e t s p eak s o f t h e " t r i s t e e s c a s e z d e l M a n z a n a re s."

Some

o f t h e l i n e s o f t h e l a s t s t a n z a r e c a l l one o f t h e d ic h a s so nadas i n "C adiz t r a n s f o r m a d o " :

D elio dreamed t h a t M ir ta h a d w r i t t e n t h i s

m essage f o r him i n t h e sand: "Quien me s i g u e s e r a c o r r e s p o n d i d o ; D e lio l o h a c o n s e g u id o ." I n " T r i u n f o de M an zan a re s," i t i s t h e p o e t who now w r i t e s i n t h e s a n d ( l i n e s 177-18!+): D ile que en l a d e lg a d a A ren a, nunca h o l l a d o de l a g e n t e , Graba co n tin u am e n te E l d u lc e nombre de s u M i r t a amada, Y c r e c e y sube con e l olmo a l z a d o ,

106 Y que siem pre empleado En fo rm ar de sus p re n d a s l a r g a h i s t o r i a » H arâ e t e r n a de M i r ta l a memoria. Not o n ly does D e lio w r i t e M i r t a 's name i n t h e s a n d , h e h a s a l s o c a rv e d i t i n t o t h e b a r k o f an elm t r e e , w h ere i t clim bs and grows w ith th e t r e e .

These a re a d o l e s c e n t m a n i f e s t a t i o n s o f l o v e ; i n a w ord,

im mature l o v e , t h e o n ly k i n d o f lo v e t h a t F r a y Diego c o u ld p r o p e r l y in d u lg e .

The name w r i t t e n in th e s a n d v a n i s h e d q u ic k l y ; c a r v e d on a

t r e e , i t s u r v i v e d somewhat l o n g e r .

How much i m m o r ta lit y D e lio con­

f e r r e d upon M i r t a by e n s h r i n i n g h e r i n h i s v e r s e s can n o t y e t b e s a i d .

" E g lo g a .

D e lio y I-îirta" (p p . 1 8 ^ - 1 8 5 ) .

In t h e I 8 l 2 and I 817

e d i t i o n s , t h i s e c lo g u e i s e n t i t l e d " D e lio y M e lis a " ; t h e change o f t i t l e n e c e s s i t a t e d o t h e r changes i n th e t e x t :

f o r exam ple, a l l th e

s p e e c h e s o f M e li s a h a d t o b e changed t o come u n d er t h e h e a d in g o f M irta .

S i m i l a r l y , a l l r e f e r e n c e s t o M e li s a w i t h i n t h e t e x t were

chang ed t o M i r t a . L in e 4 (BAE) :

O th e r changes a r e as f o l l o w s :

Gozar de mis c a r i c i a s . . .

(1 8 1 2 , 18 1 7 ): L in e

( BAE) ;

Y M i r t a t e h a de amar h a s t a l a m u e rte .

(1 8 1 2 , 1 8 1 7 ): L in e 55 (BAE) :

Tuya s e r a M e lis a h a s t a l a m u e rte .

iAy M ir ta de mi v i d a i &q u ie n c r e y e r a . . .

(1 8 1 2 , 1 8 1 7 ): L in e 74 (BAE) :

Gozar de mis d e l i c i a s

ÎAy M e lis a , M e lis a l &q u ie n c r e y e r a

c o n t ig o

(1 8 1 2 , 1 8 1 7 ): L in e s 9 1-9 2 ( BAE) :

(1 8 1 2 , 1 8 1 7 ) :

conmigo . . . s i lo s d io ses in m o rta le s De e s t o s n u e s t r o s a f a n e s caso h i c i e r a n . . . lo s d io ses in m o rtales Si de e s t a s n u e s t r a s c o s a s caso h i c i e r a n . . .

107

Line 97 (BAE) ;

iNo me respondes, Mirta?

( 1 8 1 2 , 1 8 1 7 ): Lines 130 ( BAE) :

lY t e puedes queja r que en mis amores . . .

( 1 8 1 2 , 1 8 1 7 ): L in e lljO ( BAE) :

&Y ahora te quejas de que en mis amores . . .

Desde que eraxiecê â a m a rte , M irt? mi a . . .

(1812, 1817) : L in e 205 (BAE):

iWo respondes Melisa?

Desde que yo t e arae, M elisa mia . . .

Que t u , M ir ta , no ig n o ra s te n g o v e n a . . .

( 1812 , 1 8 1 7 ):

Que ya sa b es, M elisa, tengo vena

W ritten in te r c e to s e n d e c a sila b o s, t h is eclogu e i s rhymed in th e I t a lia n fa sh io n , in te r z a rim a. "D elio y Mirta" i s among the most p o lish e d o f Fray D iego's p a sto r a l lo v e poems.

% ereas in th e poems co n sid ered up to t h is poin t

only an is o la t e d sta n za or two could be considered w e ll executed or f in e ly wrought, th e r e i s in th e greater part o f "Delio y Mirta" a more su sta in ed ly r ic is m which shows to good advantage FrayD iego's e s t i l o ameno.

The language o f the poem i s sim ple and ra p id , w ithout

e x c e s siv e word p lay or a n t it h e s is ; a t tim e s, i t i s a p h o r is tic , but i t does not lo s e th a t con versa tio n a l q u a lity th a t so b e f i t s a debate between two lo v e r s . Again, th e p oet i s the su p p lia n t; Mirta i s the shepherdess who accepts th e lo v e o ffe r e d t o her but who w i l l n ot be bound by i t . M irta's i s o b v io u sly th e su p erior p o sitio n :

she i s d is c r e e t and in

command o f h e r s e lf ; D elio i s a t the mercy o f h is lo v e and jea lo u sy . Thus i t i s th a t, as th e poem b e g in s, Mirta can ask , alm ost o b je c tiv e ly ( lin e s 1 -1 2 ) , iQue t ie n e s , D elio mio? iQue a ccid en te En tu r o str o e l color ha deraudado?

108

A yer t e v i g u s to s o y co m p la c ie n te G ozar de m is c a r i c i a s ; h o y , a ir a d o E l s e m b la n te , o je r o s o y m a c ile n to , E l c a b e llo s i n o rd en d e sg re n a d o , Muda l a v o z , tu r b a d o e l p e n sa m ie n to , Y e l la m en to â lo s a i r e s e s p a r c id o , P u b lic a s e r e x tra n o t u to rra e n to . iQue n u ev a p e n a , d i , t e ha p o s e id o ? Cuentarae t u d o lo r , p o r v e r s i a lc a n z a A liv io e l mal conmi.go c o n fe rid o . I t i s as th o u g h M ir ta w ere d id n o t know

unaw are o f h e r power o v e r D e li o , as

i f sh e

t}ie n a t u r e o f t h e a c c id e n t t h a t changed h e r s h e p h e rd

" g u s to s o y c o m p la c ie n te " t o " o je r o s o y m a c ile n to ."

from

F ra y D ie g o ’ s

c h a r a c t e r i z a t i o n makes M ir ta c o q u e t tis h and s o l i c i t o u s :

in her s o lic i­

t u d e , M ir ta i n v i t e s th e s h e p h e rd t o unburden h im s e lf to h e r , a lth o u g h s h e knov7s t h a t i f h e does so h e w i l l o n ly b e a l l th e more d ep e n d e n t on h e r , a l l th e more c a p t i v a t e d by h e r .

The s h e p h e rd , made l e s s r a t i o n a l

th a n M irta by h i s lo v e and h i s je a lo u s y , answ ers a t le n g th

(th irty

t e r c e t s ) , a c c u s in g M ir ta o f f i c k l e n e s s and d u p l i c i t y . D e lio r e c a l l s f o r M i r t a 's saJie th e many tim e s th e y h a d l e f t t h e i r f lo c k s u n a tte n d e d , r e t i r e d t o th e f o r e s t , and t h e r e su n g ( l i n e s 3 6 -3 7 ) . . . â s o la s s i n t e s t i g o Con g u s to y con p l a c e r , n u e s tr o s am ores. The l a s t l i n e i s r e m in is c e n t o f C a d a lso , who, i n h i s O cios de mi ju v e n t u d , h ad s a i d o f h i s own v e r s e s , Todos de r i s a s o n , g u s to s y am ores. Ya c a n to de p a s to r a s y p a s to r e s Las f i e s t a s , e l t r a b a j o y lo s am o re s. " D e lio y M irta " o c c u p ie s i t s e l f w ith j u s t such m a tte r s ; t h e r e i s in t h i s e c lo g u e so m e th in g o f t h e la b o r s o f sh ep h erd s and s h e p h e rd e s s e s : En t a n t o que s e s te a n lo s p a s to r e s . . .

( l i n e 35)

109 . . . C o rre , D e lio , p r e s u r o s o ; Que en e l sem brado s e e n t r a n l a s o v e ja s ( lin e s 70 - 7 1 ) Pues A r s e n ic , â q u ien s i r v o , . . . Me h a enviado â d e c i r que s i n ta r d a n z a Amenace h a c ia e l Tormes e l ganado . . . ( l i n e s 175 - 177 ) C le a r ly , t h e s e a r e th e la b o r s o f i d e a l i z e d sh e p h e rd s i n an im agined A rc a d ia ; an d o n ly i n f r e q u e n tly do such l a b o r s occupy them : m al o c c u p a tio n i s amorous d is c o u r s e .

t h e ir n o r­

I n one su ch d is c o u r s e , D elio

rem inds M ir ta o f o t h e r , b e t t e r tim e s , a s when s h e c a rv e d a prom ise o f lo v e upon a t r e e ( l i n e s 3 8 -^ 5 ): T e s tig o es de a q u e l r o b l e l a r u d e z a . Que a l tiem po h a r â in m o r ta le s t u s fa v o r e s P a sa d o s; pues ced ien d o s u d u re z a De agudo p e d e r n a l a l g o lp e f u e r t e . De t u mano e s c r i b i s t e en su c o r te z a Un l e t i j r o que d ic e de e s t a s u e r t e : " D e lio , mio h a s de s e r to d a l a v i d a , Y I 'tir ta t e h a de amar h a s t a l a m u e rte ." S im i la r l i n e s o c c u r i n o th e r poems.

F o r ex am p le, i n " T riu n fo de

M a n z a n a re s," D e lio r e p e a te d ly w r ite s M i r t a 's name in t h e san d and c a rv e s i t i n t o t h e b a rk o f a t r e e .

In " D e lio y M ir ta ," th e s h e p h e rd e ss

im m o r ta liz e s h e r lo v e f o r D e lio in th e same w ay, by p e r p e tu a tin g i t on th e b a r k o f an o ak .

And i n l i n e s t h a t s u g g e s t some o f th e dreams

i n "C adiz tr a n s f o r m a d o ," D e lio a ls o rem in d s M irta o f th e many tim e s th e y b e g u i le d th e houi’s i n sw e et d ia lo g u e ( l i n e s 4 6 -5 1 ): iAy! C uantas v e c e s , â mi c u e l lo a s i d a , D i j i s t e : "Ven, p a s t o r , h a c i a e s t a f u e n te (Ya que e l tiem po o p o rtu n o -nos c o n v id a ) ; "Templareinos de amor l a s e d a r d i e n t e , Mas con e l t r a t o d u lc e y amoroso Que con e l f r i o r a u d a l de su c o r r i e n t e . " In l i n e s 61- d 3 , F ray D iego d e p a r t s from th e c o n v e r s a tio n a l to n e t h a t he u s e s in m ost o f t h i s poem and in d u lg e s i n th e more c o n tr iv e d

110

s t y l e o f a n t i t h e s i s in o r d e r t o com plain o f h i s r i v a l f o r M i r t a 's lo v e : E l no v iv e s i n t i ; t û s in ê l m u eres: Tu l e s ig n e s do q u ie r a que s e a u s e n ta ; E l s ig u e p o r do q u ie r a que t u f u e r e s . D e l i o 's r i v a l in t h i s poem i s A n tim io , vho n o t o n ly commands M ir ta 's a f f e c tio n s ,b u t a ls o w rite s

v e r s e s o f p o o r q u a l i t y ; t h u s , D e lio up­

b r a i d s M irta as much f o r h e r t a s t e in

p o e try a s f o r h e r p r e f e r e n c e

f o r A ntim io ( l i n e s 82-90) 6Ï que d i j e r o n ^ o s d io se§ 7 cuando en l a e s p e s u r a De e s a s e l v a t e v ie ro n o tr o d ia , R eco stad o en s u p ech o , s in c o r d u r a , A ten d ien d o â unos v e rs o s que l e i a (O bra s u y a , que a la b a â to d a s h o r a s ) ; V ersos que en to d a r a e tr ic a p o r f i a , Aunque l o s c a n te en voces muy s o n o r a s , Los escu ch a n con t e d i o lo s z a g a le s Y l o s oyen con b u r l a l a s p a s to r a s ? I t i s te m p tin g t o seek in t h e s e l i n e s a c o r r e l a t i o n w ith F ra y D ie g o 's own l i f e ; one c o u ld a sk "Who was A ntim io i n r e a l l i f e ? " and "Was he r e a l l y a p o e t in F ray D ie g o 's c i r c l e o f f r i e n d s an d d id M ir ta r e a l l y p r e f e r him t o D e lio ? "

T hese q u e s tio n s can p ro b a b ly n o t b e answ ered

now i n any c a s e , even i f th e y w ere o f any im p o rta n c e . Wliat m a tte r s now i s n o t who A ntim io was ( i f a n y o n e ), b u t r a t h e r th e f a c t t h a t i n t h i s poem he i s b o a s t f u l o f h i s own v e r s e s .

T h is F ray D iego n e v e r was a n d ,

u n d e r s ta n d a b ly , he w ould c e n s u re such la c k o f m odesty i n o t h e r s . F u rth e rm o re , t h i s r u s t i c p o e t , A n tim io , p e r s i s t s i n a tte m p tin g a l l m e te r s .

T h is , t o o . F ray D iego a v o id e d .

A lthough h e u s e d v a r io u s

s t a n z a i c fo rm s, su ch as th e s o n n e t, d écim as, o c t a v a s , and q u i n t i l l a s . F ra y Diego m ost o f te n u s e d a co m b in atio n o f s e v e n - and e l e v e n - s y l l a b l e lin e s .

And h i s b e s t p o e t r y , by i t s v ery n a t u r e , d i d n o t l e n d i t s e l f

I ll t o r e c i t a t i o n " e n v o ces muy so n o ras" :

i t does n o t encom pass e p ic o r

h i s t o r i c a l th e m e s , n o r i s i t b o m b a stic o r g r a n d ilo q u e n t.

I t i s more

s u i t e d t o r e a d in g w ith in a s m a ll c i r c l e o f f r i e n d s o f l i k e t a s t e s and e s t h e t i c c r e e d s ; i n o th e r w o rd s, among th e p o e ts o f S alam an ca.

N e ith e r

i s t h e r e any i n d i c a t i o n t h a t F ray D ie g o 's v e r s e s w ere r e a d anywhere "con t e d i o " o r " c o n b u r l a " ; q u ite t h e c o n t r a r y , F ra y D iego e n jo y ed a w ide c e l e b r i t y a n d i n h i s own tim e was a c c o rd e d a p o s i t i o n in Spanish l e t t e r s e q u a l t o t h a t o f F ra y L u is de Leon.

Ih e y e a r s h av e s in c e

m o d ifie d t h a t ju d g m e n t; i t i s now c l e a r t h a t F ray D iego c a n n o t be com pared t o F ray L u is .

S t i l l , i t can be s a i d t h a t h e was f r e e o f th e

v ic e s t h a t he a s c r i b e s t o h i s p o e t - r i v a l , o r r i v a l p o e t , A n tim io . The f i r s t l i n e s o f M i r t a 's answ er t o D e lio a r e , in e f f e c t , an ap h o rism ( l i n e s 1 0 3 -1 0 5 ): IAy D e lio , D elio I iC uanto ve en s u daho Un hombre de lo s c e lo s a f l i g i d o , L in c e a l d o lo r y to p o a l d esen g an o î In th e s e few l i n e s , M irta sum m arizes D e l i o 's t r o u b l e d s t a t e :

h is

je a lo u s y makes h im q u ic k t o n o te a f f r o n t s t h a t o n ly in c r e a s e h i s p ain ; i t a l s o b l i n d s h im t o th e t r u t h t h a t c o u ld e a s e h i s s u f f e r i n g .

The

t r u t h i s , as M ir ta t e l l s h im , t h a t h i s je a lo u s y i s o f h i s own making; M ir ta ev en r e p e a t s th e s h e p h e r d 's own w o rd s, j u s t a s h e h a d r e p e a te d h e r s i n h i s c o m p la in t ( l i n e s 109 - 120 ): iWo t e d i j e b ie n c l a r o que y a amaba A A n tim io cuando t u me d e s c u b r is te E l in c e n d ie que e l pecho t e ab r a s ab a? Ell e s t e c a s o , i t u no p r e t e n d i s t e T e n e r en mi c a r in o a lg u n a p a r t e , S in p e r j u i c i o de A ntim io? iNo d i j i s t e : " V iv ir me e s im p o s ib le s i n a m a rte ; B ie n s ê que A ntim io â t i t e amo p r im e r o . Tu de s u amor no puedes a p a r t a r t e .

112

"Amanos â l o s d o s, p o rq u e yo q u ie r o S e r amado de t i con f e s e n c i l l a , Aunque te n g a en t u amor l u g a r p o s t r e r o . As she r e c a l l s th e s h e p h e r d 's words f o r h im , M ir ta in tr o d u c e s one o f th e them es o f t h i s e c lo g u e , t h a t o f two s h e p h e rd s who lo v e d th e same s h e p h e rd e s s ( l i n e s 121- 1 2 6 ): " E n tr e lo s dos no h a b r à jam as r e n c i l l a , C o n te n to con su p a r t e cad a u n o ; S e ra n de amor l a n u ev a r a a r a v i l l a "Dos p a s t o r e s , que amaron de consuno A l a misma p a s to r a con d e s v e lo , S in que e n t r e e l l e s h u h ic s e d u e l o . alg u n o " . •. D e l i o 's je a lo u s y i s u n fo u n d ed :

h e h im s e lf p ro p o s e d t o lo v e M ir ta ,

even th o u g h he knew f u l l w e ll t h a t sh e lo v e d a n o th e r .

When D e lio p r o ­

t e s t s t h a t i t i s now im p o s s ib le f o r him to c a r r y o u t h i s p r o p o s a l, " sin . . .

d u elo a lg u n o " ; when he p r o t e s t s t h a t h e h a s fo rs a k e n a l l o th e r

lo v e s f o r M i r t a 's s a lîe ; when he a s s u r e s M irta t h a t ^

c o u ld n o t lo v e

two p e o p le as sh e c la im s t o do, M ir ta answ ers sim p ly w ith th e p a r a b l e t h a t i s th e se c o n d them e o f th e e c lo g u e ( l i n e s 157- 1 7 1 ): M ira , D e lio : yo te n g o un c o r d e r i l l o B la n c o , de r o j a s m anchas s a lp i c a d o , Cuya m ad re, a l d e j a r l e en un t o m i l l o , M urio de un a c c id e n te no e s p e r a d o ; A p liq u e le â o t r a o v e j a , que c r i aba O tro de b ia n c o y n e g ro v a r ia d o . A l p r i n c i p i o l a o v e ja l e e x tr a n a b a ; D espues y a l e c r i ab a y l e la m ia ; E r a , en f i n , ta n to y a l o que l e amaba. Que s i p o r a l gun c aso l e p e r d i a , A n sio sa l e b u scab a con b a l i d o ; De m an era que n a d ie c o n o c ia . N i t u , D e lio , l o h u b ie r a s c o n o c id o . Con t u mucho s a b e r y t u e x p e r i e n c ia , C ual e r a de l o s dos e l mas q u e r id o . In th e v iew o f one l i t e r a r y h i s t o r i a n , th e la n g u a g e o f t h i s e c lo g u e i s so p r o s a i c t h a t i t e x c lu d e s th e r e f l e c t i o n o f any p a s s io n

113

an d , f u r th e r m o r e , "m ejo r e s t u v i e r a en l i s a y l i a n a p r o s a ." ^ ?

F ray

Diego does n o t h av e many com m entators among m odern c r i t i c s and h i s t o r i a n s — a p a r t from " E l m u rciela g o a le v o s o ," few o f h i s poems have b een commented u p o n ; y e t , h i s t o r i a n s and a n t h o l o g i s t s a g re e t h a t p e r ­ hap s F ray D ie g o 's c h i e f c h a r a c t e r i s t i c i s h i s p r o s a i c v e r s e .

I t is

p ro b a b ly more a c c u r a te t o say t h a t F ray D ie g o 's v o c a b u la r y and s y n ta x a re so s im p le , so g e n e r a l l y f r e e of s t y l i z e d c o n v o lu tio n , t h a t many o f h is l i n e s sc a n a s e a s i l y as p ro se .

I n F o r n e r 's p h r a s e . Fray Diego

was one o f th o s e who " sa b e n b ie n e l uso de su le n g u a " ; and a c c o rd in g to C ueto , F ray D iego was "v erd ad ero r e p r é s e n t a n t e de l a t r a d i c i o n f i e l d e l h a b la c a s t e l l a n a . "*

D e s p ite the f a c t t h a t F ra y D iego w r ite s i n an

e x o tic mode, th e p a s t o r a l , he does s o w ith i n t h e l i m i t s o f th e b e s t S p an ish d i c t i o n .

The r e s u l t i s t h a t , th o u g h h i s p o e tr y may be d i s ­

m issed as p r o s a i c , h i s la n g u a g e must be rem em bered f o r w h at i t w as: d i r e c t , r a p i d , c o n v e r s a t i o n a l , and s q u a r e ly in t h e p u r e s t n a tiv e tra d itio n .

The a p p e a l, t h e n , o f M ir ta 's p a r a b le l i e s in th e s i m p l i c i t y

o f i t s s t o r y and th e d i r e c t n e s s o f i t s la n g u a g e . I n h e r n e x t sp eech a f t e r the p a r a b l e o f t h e w h ite lam b, M irta vows u n e n d in g lo v e f o r D e lio ; t h a t i s , she w i l l s e e n a t u r a tr o c a d a b e f o r e sh e f a l t e r s i n h e r lo v e ( lin e s I 8I - I 89 ): A n tes p r o d u c ir a el D iciem bre f l o r e s En l o s p r a d o s , y e l J u l i o l a s c o r r i e n t e s S u sp e n d e ra con h ie lo , y lo s o lo r e s D el to m i l l o y romero f l o r e c i e n t e s H u ira l a d o c ta a b e ja , y h a râ n le c h o En l a s h o ja s d e l fresn o l a s s e r p i e n t e s , Y no f l o r e c e r a e l i n g r a t o h e le c h o

^ ^ G u ille rm o D i a z - P l a j a , op. c i t . , p . 263. *See n o te s 11 and 1 2 , C hapter I I I .

Ilk En e s t a n u e s t r a s e lv a um brosa y f r i a , Que f a i t en tu s am ores de mi pech o . M i r t a 's sp eech i s p r o p e r ly b u c o l i c ;

th e te rra s o f h e r com parison ai’e

w hat one w ould e x p e c t i n an e c lo g u e — " f l o r e s en l o s p r a d o s ," " lo s o lo r e s d e l to m illo y rom ero f l o r e c i e n t e s , " " l a d o c ta a b e j a ," " l a s h o ja s d e l f r e s n o ," " n u e s t r a s e l v a u m brosa."

M ir ta e x p r e s s e s h e r s e l f

as w ould any A rcad ia u s h e p h e rd e s s whose w o rld i s bounded by th e n a t u r a l v e g e t a ti o n o f meadow an d f o r e s t .

On th e o th e r h a n d , th e s h e p h e rd

D e lio e x p re s s e s , h im s e lf d i f f e r e n t l y , in w hat w ould c o n v e n tio n a lly be d e s c r ib e d as a more m a sc u lin e m anner t h a t r e f l e c t s b o th m anly p u r s u its and a w id e r know ledge o f th e w o rld .

He, to o , e n u m erates th e changes

t h a t s h a l l o c c u r i n n a t u r e b e f o r e he f a l t e r s in h i s lo v e ; h i s l a s t l i n e i s a v a r i a t i o n o f M i r t a 's ( l i n e s I 9O -I 9 S ): Y â n te s l a l i e b r e tir a id a a p o r f i a S ig u ie n d o en pos d e l galg o i r a con s a n a , Y e l T ib e r , que p o r Roma e l p aso g u ia , La c o r t e b a n a r a de n u e s tr a E sparia; Y o lv id a n d o su s h u e r to s y v e r d o r e s , E l Ebro c o r r e r a p o r l a B re ta n a ; Y l a c i e r v a s e d ie n t a en lo s c a l o r e s O lv id a r a l a c r i s t a l i n a f u e n te , Que f a l t e n de mi pecho tu s am ores. Between two co m p ariso n s drawn from th e aiiim al w o r ld , co m p ariso n s in k e e p in g w ith D e l i o 's r u s t i c v o c a tio n , occirr two o th e r s w hich n o t only r e f l e c t D e l i o 's w id e r know ledge o f th e w o rld , b u t a l s o r e f l e c t Fray D ie g o 's c o n tin u in g p r e o c c u p a tio n w ith r i v e r s .

Only " l a c r i s t a l i n a

fu e n te " i s in harmony w ith M i r t a 's sp e e c h ; th e r e f e r e n c e t o t h e h u n t in tr o d u c e s i n t o th e s e l i n e s a v i o l e n t to n e , and r e f e r e n c e s t o th e T ib e r and E bro R iv e rs ta lte th e p o e t f a r a f i e l d from th e Tormes and th e Val de O tea. D elio th e n r e t u r n s t o t h e s u b je c t o f p o e t r y ; he p ro m ise s t h a t

115 he w i l l sen d h i s v e r s e s t o M irta i n th e hope t h a t th e y w i l l w in com­ p a s s io n f o r him ( l i n e s 2 0 2 -2 0 9 ): Yo v i v i r e muy t r i s t e y a f l i g i d o S in t u d u lc e p r e s e n c i a ; mas l a p e n a Con m is v e r s o s te m p la r he d i s c u r r i d o ; Que t û ) M ir ta , no ig n o r a s te n g o v e n a , Y no hay imo e n t r e to d o s l o s z a g a le s Que me ex c e d a en c a n t a r con d u lc e a v en a . Yo t e l o s e n v ia r e , p orque m is m ales L o g ren a lg u n a vez e n t e r n e c e r t e P o e try w i l l be t h e means by w hich D e lio s h a l l te m p e r h i s so rro w ; h i s p o e try w i l l d i s t i n g u i s h him from th e r e s t o f th e -s h e p h e rd s , whom D e lio s u rp a s s e s in th e sw e e tn e s s o f h is r u s t i c so n g .

D e lio p r a i s e s h e re h i s

own v e r s e s , a p p a r e n tly f o r g e t t i n g t h a t h e h a d c r i t i c i z e d A ntim io f o r th e same la c k o f m o d esty .

A g ain , i t i s te m p tin g t o t r y t o l i n k th e s e

l i n e s w ith F ray D ie g o 's l i f e , t o s u g g e s t t h a t th e y i n some way r e f l e c t F ray D ie g o 's f e e l i n g s a b o u t h i s p la c e i n th e P a rn a s o s a la m a n tin o .

The

te stim o n y o f F ra y D ie g o 's c o n te m p o ra rie s i n d i c a t e s t h a t he h a d no such f e e l i n g s a b o u t h i s p o e tr y o r ab o u t i t s m e r its r e l a t i v e to th e p o e tr y o f th e o th e r z a g a le s in th e P a rn a s o .

I t i s t r u e t h a t he s e n t h i s com­

p o s iti o n s to M ir ta , a s h e in d i c a t e d t h a t h e w o u ld , b u t t h i s i s n e i t h e r u n u su a l f o r a p o e t n o r i s i t grounds to assum e t h a t t h i s e c lo g u e i s a u to b io g r a p h ic a l.

F u rth e rm o re , i t m ust b e rem em bered t h a t " D e lio y

M irta " was o r i g i n a l l y w r i t t e n f o r M e lisa :

any p e r s o n a l r e f e r e n c e s

w ith in th e poem w ould t h e r e f o r e be v a l i d f o r o n ly t h a t p e r io d o f tim e d u rin g which th e p o e t d e d ic a te d h is song t o M e lis a . In th e l a s t t e r c e t s o f th e poem, D e lio i n d i c a t e s t h a t he i s w r i t i n g i n h is y o u th and he a g a in e x p r e s s e s t h e w ish t h a t he m ig h t lo v e M ir ta , even th o u g h sh e lo v e s A n tim io .

T o g e th e r , th e t h r e e s h a l l

be th e wonder o f lo v e ; t h u s , th e l a s t l i n e s o f t h e poem r e i t e r a t e th e

116 theme e x p r e s s e d e a r l i e r i n l i n e s 118-126 and s e r v e t o u n i t e th e en­ t i r e w ork ( l i n e s 2 1 3 -2 2 9 ): iAyl q u i e r a e l c i e l o que en d ic h o s a s u e r te En e s t a s n u e s t r a s s e lv a s d e l e i t o s a s Los t r e s vivam os siem p re en l a z o am a n te , Gozando e d ad e s l a r g a s v e n t u r o s a s ; Que aunque â l o s dos yo en ahos a d e l a n to La can a en mi c a b e llo aun no es n a c i d a , Wi s u r c a l a h onda ru g a mi s e m b la n te . Y s i tû n o s ex ce d es en l a v i d a , H onra con un s e p u lc r o n u e s t r a m u e rte , B a jo una l o s a , do s e r a e s c u lp i d a . De a c e ra d o c i n c e l â g o lp e f u e r t e ( s i es que t i e n e s v a l o r p a r a e s c r i b i l l a ) , Una l e t r a que d ig a de e s t a s u e r t e ; "A qui y a c e de amor l a m a r a v i l l a : Dos p a s to r e s que amaron de consuno A u n a misma p a s t o r a con d e s v e lo , S in que e n t r e e l l o s h u b ie s e d u e lo a lg u n o ."

"A M e lis a .

C ancion" (p . 1 9 4 ).

P erh ap s b e c a u s e o f h is c a l l i n g

as a p r i e s t and s a c r e d o r a t o r . F ra y Diego a v a i l s h i m s e l f in v a r io u s poems o f dream s an d v i s i o n s t o convey h i s m e an in g .

I n "A M e lisa .

C a n c io n ," F ray D iego u s e s v i s i o n s and a l le g o r y t o w arn M e lis a o f th e d an g ers a t t e n d a n t upon h e r a tta c h m e n t t o a r i v a l .

T here i s no i n d i ­

c a tio n who h i s r i v a l m ig h t b e , b u t i t can b e i n f e r r e d from F ray D ie g o 's la n g u a g e t h a t th e r i v a l i s n o t th e A ntim io o f "A M e lis a . "E g lo g a.

D e lio y M ir ta ."

Buenos" and

In th e l a t t e r poem, D e lio a c c e p ts th e f a c t

t h a t , i f he i s t o lo v e a t a l l , h e must lo v e "d e eo n su n o " w ith A n tim io ; th e two o f them s h a l l be th e w onder o f lo v e , tw o s h e p h e rd s who lo v e d A u n a misma p a s t o r a con d e s v e lo . S in que e n t r e e l l o s h u b ie s e d u e lo a lg u n o . The p i c t u r e i s one o f i d y l l i c lo v e , b o th s h e p h e rd s l o v i n g g e n e ro u s ly and w ith o u t en v y .

There i s no s u c h m agnanim ity i n "A M e lis a . C an cio n ":

h e r e , t h e p o e t c l e a r l y w arns M e lisa o f " a s t u c i a s , en g an o s y t r a i c i o n e s , "

117 f o r t h e r i v a l i n t h i s poem i s n o t a s h e p h e rd — "Es d ra g o n , loho y cazador a s tu t o ." "A M e lis a . C ancion" i s d iv id e d i n t o se v e n s ta n z a s o f t h i r t e e n l i n e s , se v e n o r e le v e n s y l l a b l e s t o th e l i n e .

Two s ta n z a s d e s c r ib e

each v i s i o n : i n th e f i r s t o f each p a i r o f s t a n z a s , th e p o e t t e l l s how h e r e s c u e s a h e l p l e s s c r e a t u r e from d a n g e r; in t h e s e c o n d , he t e l l s how, d e s p i t e h i s lo v e and c a r e , th e c r e a tu r e r e t u r n s to i t s c a p to r . The l a s t s t a n z a o f th e poem i s th e p o e t 's e x p la n a tio n o f th e a lle g o r y . The poem b e g in s th u s ( l i n e s 1 - 1 3 ) : Andando yo cazan d o , Vi u n a b la n c a p alo m a, gue b a t i a Las a l a s con e x tra n o m o vim iento, Y lu e g o f u i n o tan d o Que p o r l i n e a d e re c h a d e s c e n d ia H a c ia l a b o ca de un drag o n h a m b rie n to , E l c u a l con t o r p e a l i e n t o H a b ia su v ig o r e n to r p e c id o , Y h a c i a s i l a t r a i a s i n s e n ti d o . Con t a l d u lz u ra y s u a v id a d ta n r a r a . Que s i yo no l l e g a r a Tan o p o rtu n am en te , F u e r a d e sp o jo de su cru d o d i e n t e . The dove h e r e i s M e lis a , whose in n o c e n c e i s s y m b o liz e d b y th e d o v e 's w h ite n e s s ; t h e d rag o n i s th e p o e t 's r i v a l , d e s c r ib e d in t h e w o rst te rm s — " h a iu b r ie n to ," "con to r p e a l i e n t o , " d e c e i t f u l l y h id i n g b e h in d a fa ç a d e o f " d u lz u r a y s u a v id a d ."

D e lio c o n tin u e s ( l i n e s 1 ^ -2 6 ):

Compadecido de e l l a D is p a r e mi a rc a b u z , y d iv i d id a La colum na de a l i e n t o que m e d iab a, Cayo â mis p ie s l a b e l l a P alo m a, s i no m u e rta , a t o n te c i d a . Yo l a puse eri mi pecho y fo m en tab a, P o r v e r s i en s i to r n a b a ; Mas e l l a , ap en as se hubo re c o b ra d o . D espues de haberm e e l co razo n ro b a d o , H a c ia l a f i e r a b o ca a lz o su v u e lo , Y con ta n to d e s v e lo

118

P o r e l l a s e h a m etid o Como p u d ie r a p o r s u amado n id o . I n a l l e g o r i c a l te r m s , th e p o e t n a r r a t e s th e s u c c e s s io n o f e v e n ts : re s c u e o f th e dove,

h is

h i s s o l i c i t u d e f o r i t s re c o v e ry , h i s f a l l i n g i n

l o v e , and th e r e tu i 'n o f

th e dove to th e d ra g o n .

The same p a t t e r n i s r e p e a te d i n th e s u c c e e d in g p a i r s o f s ta n z a s . M e lis a i s se e n h y th e p o e t as a " c o r d e r a funada" whom h e r e s c u e s from a " lo h o sag az" ; a g a in th e p o e t n u rs e s th e i n j u r e d anim al h ack t o h e a l t h , o n ly t o have i t f l e e from him and r e t u r n t o i t s to rm e n to r. f i v e and s i x , D e lio ransom s "una t o r t o l a ta n h e l la " h as e n ta n g le d i t i n

In s ta n z a s

from a h u n te r who

h i s n e t s ; as b e f o r e , th e t u r t l e dove re p a y s h i s

k in d n e s s hy f l y i n g h ack t o th e n e t s t h a t h a d e n tra p p e d i t e a r l i e r .

The

l a s t s ta n z a e x p l i c i t l y draw s th e p a r a l l e l s betw een M e lisa and th e p r e ­ d a t o r s ' v ic tim s ( l i n e s 79- 9 1 ) : M e lis a , s i e n te n d ie r a s Lo que q u ie re n d e c i r e s t a s v is io n e s , No f u e r a q u ie n l a s v io t a n d e s d ic h a d o ; E n to n c e s c o n o c ie ra s L as a s t u c i a s , enganos y t r a i c i o n e s De que D e lio p ru d e n te t e h a l i h r a d o , Y h u b ie r a s e stim ad o Su mucha d i l i g e n c i a y mucho c e l o ; P e ro a l f i n l a v e rd a d q u i t a r a e l v elo A l engario, y v e r a s que a q u e l am ante, A q u ie n p ag as c o n s ta n te De t u amor e l t r i h u t o . Es d ra g o n , lo h o y c a z a d o r a s t u t o . Such e x p l i c i t n e s s on th e p a r t o f F ray D iego i s r a r e ; h i s d is a p p r o v a l, thoufÿi couched a t f i r s t in th e m ild e r la n g u a g e o f a l le g o r y , in th e l a s t s t a n z a i s s t r a i g h t f o r w a r d and u n s t i n t i n g .

"A M e lis a . Buenos" (p p . I 87- I 8 8 ).

I n e v i t a b l y , a com parison m ust

h e made b etw een t h e dream seq u en ce s o f "A M e lis a . Buenos" and th o s e o f

119 " C a d i t r a n s f o r m a d o y d ic h a s so n ad as d e l p a s t o r D e lio " ; a l s o , s in c e th e e c lo g u e " D e lio y M irta " was o r i g i n a l l y w r i t t e n f o r M e lis a , i t , to o h a s some r e l a t i o n s h i p w ith t h i s poem.

"A M e lis a . Buenos" and "C ad iz

tra n s fo rm a d o " have th e same s ta n z a i c form ; and e le v e n s y l l a b l e s ;

t h i r t e e n l i n e s o f sev en

o th have a r e f r a i n t h a t u n i f i e s th e poem and

e x p r e s s e s a c e r t a i n r u e f u ln e s s a t th e b i t t e r n e s s o f r e a l i t y .

"A M e lis a .

Buenos" r e p e a t s e x a c tly s e v e r a l l i n e s from "C â d iz tra n s fo rm a d o " ; i t a l s o in c lu d e s a r e f e r e n c e to A n tim io , D e l i o 's r i v a l i n lo v e and p o e t r y , who was se e n in " D e lio y M irta . "

Tlie r e s u l t o f a l l t h i s r e p e t i t i o n and

c r o s s - r e f e r e n c i n g i s t h a t , in e f f e c t , "A M e lis a . Buenos" and "C adiz tra n s fo rm a d o " a re th e same poem.

Both a re a r e l a t i o n o f d ic h a s s o n a d a s ,

o f th e d is a p p o in tm e n ts o f w a k e fu ln e s s , and o f th e p r e f e r a b i l i t y o f dream s. D e l i o 's a c c o u n t o f h is dream s in " C a d iz tra n s fo rm a d o " b e g in s Bone (como tr a n s f o r m a E l sueno l a s id e a s â su g ra d o ) . . . "A M e lis a . Buenos" b e g in s in much th e same f a s h i o n , w ith t h e same v e rb an d w ith a p a r e n t h e t i c a l a s id e ( l i n e s 1 - 1 3 ) : Bon ab a y o , M e lisa (Ya que q u ie re s s a b e r l o que s o ila b a ); Bonaba yo que en un ameno p ra d o Andabas t u con p r i s a T e jie n d o de l a s f l o r e s que b r o t a b a £ r j Una g u ir n a ld a ; y lu e g o con a g ra d o ( iOh fa v o r no e s p e r a d o 1) Con e l l a f r e n t e y s ie n e s me c e n i a s , Y con r o s t r o h a lag u en o me d e c i a s : "A t i s o lo , e n t r e to d o s lo s p a s t o r e s . Be deben l o s h o n o r e s . Yo, D e lio , p o r t i m uero, Y en e l amor â to d o s t e p r e f i e r o . " As in "C a d iz tr a n s f o r m a d o ," D e lio dreams t h a t good f o r tu n e h as b e f a l l e n h im ; i n t h i s c a s e , he dreams t h a t M e lisa h a s crowned him w ith flo w e rs

120

t o s i g n i f y t h a t a l l h o n o rs a r e due t o him :

n o t o n ly does M e lis a g r a n t

t o D e lio th e b o o n o f h e r lo v e , sh e a ls o d e c l a r e s him p o e t l a u r e a t e . In " C a d iz tr a n s f o r m a d o ," D e lio r e c o u n ts te n dream s b e f o r e h e t e l l s o f h i s p a i n f u l aw altening and d is e n c h a n tm e n t.

I n "A M e lisa .

B u en o s," th e p o e t o n ly r e c o u n ts th r e e dream s and h e t e l l s ap p o in tm en t a f t e r each

dream .

o fh is d is ­

The seco n d s ta n z a ( l i n e s l4 - 2 6 )

is

th e

r e a l - l i f e c o u n t e r p a r t o f th e f i r s t dream: Con e l e x tra n o gozo, E l co razo n d e l c e n tr o se s a l i a , Y a l f i n me d e s p e r td con s u l a t i d o . Banado en a lb o ro z o . Mas lu ê g o me a c o rd ê que en c i e r t o d i a E s te f a v o r a A ntim io h as c o n c e d id o , Y a mi l e h a s p r e f e r i d o ; Pues l e d i s t e de Apolo lo s h o n o re s . F o r mas que murmuraro n lo s p a s t o r e s . Y apênas hube a q u e s to re c o rd a d o . Me v o lv i de o tr o la d o , Y con c o l e r a y ceno M a ld ije l a v i g i l i a , a la b é e l sueno. I n " D e lio y M ir ta ," th e p o e t h ad p r a is e d h i s own r u s t i c song an d m a lig n e d A n tim io f o r d o in g th e same th i n g ; he had a l s o s a id . . . no h ay uno e n tr e to d o s l o s z a g a le s Que me ex ced a en c a n t a r con d u lc e av e n a . He i s p iq u e d , t h e r e f o r e , t h a t , th o u g h he may be crowned w ith flo w e rs in h i s dream , i t i s A ntim io who in r e a l l i f e r e c e iv e s th e p o e t 's crown o f l a u r e l — an d a g a i n s t th e b e t t e r judgm ent o f th e o th e r s h e p h e rd s a t th a t.

D e lio ’ s p r id e as a p o e t i s h u r t b e c a u se he knows t h a t A n tim io 's

v e r s e s a re m e d io c re ; in " D e lio y M ir ta ," he say s o f th e s e same v e r s e s th a t Los e scu ch a n con t e d i o lo s z a g a le s Y lo s oyen con b u r l a l a s p a s to r a s . . . S m all w onder, th e n , t h a t D e lio s h o u ld p r e f e r a dream to r e a l i t y , f o r

121

i n h i s dream a t l e a s t h e i s th e p r e f e r r e d l o v e r and i s acknow ledged t o be th e s u p e r i o r p o e t. I n t h e t h i r d s ta n z a ( l i n e s 2 7 - 3 9 ) , D e lio re c o u n ts h i s s e c o n d dream : V o lv i â q u ed ar dorm ido, Y s e n ta d o me h a l l e ju n t o a u n a f u e n te , M irando su m urm ullo muy a t e n t o j Y e s ta n d o d i v e r t i do, A l l i l l e g a s t e a p re s u ra d a m e n te , P id ie iid o de b e b e r , y yo a l momento Un v aso t e p r e s e n to ; Y d ic e s t u con r i s a y b u r l a mi a : "Wo e s e s a , D e lio , e l agua que p e d ia ; La s e d que yo p ad ezco es am orosa; y sie m p re c o d ic io s a De t u s e te r n o s l a z o s . S o lo pueden te r a p la r la tu s a b r a z o s ." The m ost s t r i k i n g l i n e in t h i s s t a n z a i s th e t h i r d : m urm ullo muy a t e n t o . "

"M irando s u

Ttiis i s n o t s y n e s t h e s i a i n th e t w e n t i e t h -

c e n tu r j’' s e n s e , as when c o lo r i s a t t r i b u t e d t o so u n d s; and t h e r e i s no re a s o n t o s u p p o se , on th e b a s i s o f t h i s one ex am ple, t h a t F ray D iego th o u g h t o f th e t r a n s p o s i t i o n o f s e n s e im p re s s io n s as a l i t e r a r y d e v ic e to be e x p l o i t e d f o r e f f e c t .

Y e t, th e f a c t re m a in s t h a t , w h atev e r

may hav e b een F ray D ie g o 's i n t e n t i o n , th e t h i r d l i n e o f t h i s s t a n z a i s b o th s t r i k i n g and p r o v o c a tiv e . i s h i s p r a c t i c e o f b o rro w in g

More c h a r a c t e r i s t i c o f F ray D iego

from h im s e lf :

l i n e s 35-39 r e p e a t t h e

i d e a e x p r e s s e d i n " D e lio y M irta " t h a t th e t h i r s t o f lo v e c a n n o t b e quenched w ith w a te r : . . . Yen, p a s t o r , h a c i a e s t a 'f u e n t e (Ya que e l tiem p o o p o rtu n o n os c o n v id a ) ; Tempiaremos de amor l a se d a r d i e n t e . Mas con e l t r a t o d u lc e y am oroso Que con e l f r i o r a u d a l de su c o r r i e n t e . The t e n o r o f M i r t a 's w ords in " D e lio y M irta " and in "C ad iz

122

tra n s fo rm a d o " i s s i m i l a r t o t h a t o f M e li s a 's i n "A M e lis a . S uefios"; D e lio dream s t h a t M e lis a t e l l s him th o s e th i n g s t h a t h e m ost w ants to h e a r.

Hie dream se q u e n c e i s

o f re a lity .T h e

i n t e r r u p t e d , h o w ev er, b y th e i n t r u s i o n

f o u r th s ta n z a ( l i n e s UO-52) n a r r a t e s D e l i o 's

d is ­

en ch an tm en t w ith h i s seco n d dream: Yo, v ie n d o mi v e n tu r a , Fu£ â l o g r a r l a , lo s b r a z o s e x te n d id o s , Y cayo de mi inano e l f r a g i l v aso S o b re u n a p e n a d u ra , Y e l g o lp e me red u ce â l o s s e n t i d o s j Y v u e l t o b ie n en mi p o r e s t e a c a s o . En mi raem oria p aso Las v e c e s que e s t a d ic h a r e p e t i a s A t u A n tim io , y â mi t e r e s i s t i a s , Dé n u e v a f a z de r e l i g i o n arm ada; Y v ie n d o te e n tre g a d a En b r a z o s de o tr o dueno, M a ld ije l a v i g i l i a , a la b e e l s u e n o . D e l i o 's v e n tu r a so n a d a in t h i s poem c o rre s p o n d s t o t h e d ic h a s sonadas i n "C ad iz tr a n s f o r m a d o " ; i n f a c t , th e w ord d ic h a o c c u rs l a t e r in th e s t a n z a , m aking th e r e l a t i o n s h i p betw een th e tw o poems a l l th e more e v i d e n t.

And t h e r e i s an i r o n i c u n d e rto n e i n D e l i o 's u se o f th e words

"me re d u c e â lo s s e n t i d o s " ; w h ile b a s i c a l l y t h i s p h r a s e means t h a t D e lio r e t u r n e d t o h i s s e n s e s , t h a t i s , t h a t h e woke u p , t h e r e i s a ls o i m p l i c i t h e r e th e o t h e r m eaning o f r e d u c i r , t o re d u c e o r d im in is h .

In

e f f e c t , t h e r e i s a d im in u tio n i n D e l i o 's a c t o f r e t u r n i n g t o h i s s e n s e s : th e h a p p in e s s t h a t h e had dreaaaed i s re d u c e d t o b i t t e r r e a l i t y .

In

h i s d ream s, D e lio i s p r e f e r r e d t o A n tim io ; awaJce, an d a d d r e s s in g M e lisa , D e lio i s f o r c e d t o s a y

A n tim io ."

He th e n c h id e s M e lis a f o r in v e n tin g

argum ents an d s tr a te g e m s t o r e s i s t h im ; t h a t i s , h e c h id e s h e r f o r arm ing h e r s e l f w ith t h e " f a z de r e l i g i o n . "

Thus c o n v in c e d t h a t M e lisa

p r e f e r s A n tim io , D e lio a g a in denounces r e a l i t y and a g a in r e t u r n s t o dream.

123

The f i f t h stan za ( lin e s 53-65) recounts D e lio 's f i n a l dream: V o lv i l a vez t e r c e r a A d o rm ir, y so n e que con g ran p r i s a T o ca tas con l a a ld a b a â mi p o s tig o , D icien d o desde a f u e r a : "A bre, no tem as n a d a ; soy M e lisa , Que me vengo â v i v i r siem p re c o n tig o En la z o e te r n o am ig o ; Tendreraos ya l o s dos comun e l te c h o , E l a j u a r , e l v i v i r , l a m esa, e l le c h o . En uno jiin tarerao a l o s g an a d o s. Que con b ie n e s d o b la d o s , Y con paz jim ta ra e n te , Pasarem os l a v i d a d u lc e m e n te ." I n th e l a s t dream o f "C adiz tr a n s f o r m a d o ," D elio i s t o l d t h a t the tim e h a s come f o r him t o le a v e h i s f l o c k s , . . . que en C adiz t e e s p e r a an sio sa m e n te Con q u ien e te rn a m e n te G ozaras de t u d i a . D e l i o 's r e a c t i o n t o t h i s news i s t h e same as h i s r e a c t i o n t o M e lis a 's announcem ent t h a t sh e h as come t o l i v e w ith him f o r e v e r .

In fa c t.

F ra y D iego u s e s th e same l i n e s , w ith o n ly m inor v a r i a t i o n s , in h o th

poems; th e s ix th stanza ( lin e s 66 - 7 8 ) reads: Yo, de mi d ic h a c i e r t o , De.jo e l le c h o , dorm i do, a p r e s u r a d o ; Y d e s tin a n d o , ru e d o l a e s c a l e r a , Y en e l zaguan d e s p i e r t o , Banado e l r o s t r o en s a n g re y m a lti-a ta d o , Y v i que e s t a v e n t u r a ( i o h s u e r te f i e r a ! ) Im p o sib le me e r a . Pues e l la z o que â mi me p r o m e tia s , T ra ta d o con A n tim io l o t e n i a s ; Y aunque quede d e l sueno mal h e r i d o . Mas que de e l , o fe n d id o De l a v e rd a d , con ceno M a ld ije l a v i g i l i a , a la b e e l s u e n o . The u n d e r l i n i n g ( n o t in th e o r i g i n a l ) i n d i c a t e s th e l i n e s t h a t are common t o b o th poems a t th e p o i n t w here D e lio l e a l i z e s t h a t a l l h i s good f o r t u n e h a s o n ly b een a dream .

W ith th e e x c e p tio n o f a few w ords

12k ( zapiuan f o r p o r t a l > ali f o r o h , d e l f o r de e l ) , f u l l y te n l i n e s o f t h i s s ta n z a o c c u r i n a n o th e r poem; t h i s i s an i n d i c a t i o n o f th e e x te n t to w hich F ray D iego b o rro w ed from h im s e lf .

Such e x te n s iv e b o rro w in g may

be due t o a l a c k o f im a g in a tio n on F ray D ieg o ’ s p a r t ; i t may a ls o be due t o th e n arro w l i m i t s o f h i s p o e t r y .

W ith in t h e s e l i m i t s , a g iv e n

amorous s i t u a t i o n may o c c u r more th a n o n ce; when i t d o e s. F ray Diego a l t e r s , and som etim es r e p e a t s e x a c t l y , l i n e s a lr e a d y u se d in o th e r poem s.

The e f f e c t o f a l l t h i s b o rro w in g on F ray D ieg o ’ s p o e try g e n e r a lly

i s t h a t i t seem s c o n fin e d and r e p e t i t i v e .

I n t h e c a s e o f in d i v id u a l

poem s, such as "A M e lis a . Buenos" and "C adiz tra n s f o r m a d o ," th e e f f e c t i s o f one poem, r a t h e r th a n tw o. The l a s t s ta n z a o f "A M e lisa . Suefios" f u r t h e r r e i n f o r c e s th e im p re s sio n o f c r o s s - r e f e r e n c e s b etw een poem s, e s p e c i a l l y i f i t is remembered t h a t th e s u b t i t l e o f "C ad iz tra n s fo rm a d o " i s "D ichas so n ad as d e l p a s t o r D e li o ." E s ta s d ic h a s sofiaba En u n a misraa n o c h e , in te r r u m p id a T res v e c e s ; y aunque e l b ie n f in g i d o e r a , A nsio so d e se a b a Que, y a que s o lo e l sueno fu e mi v id a . Mi v id a un c o n tin u a d o suefio f u e r a . IOh s i siem p re d u rm iera! S o lo e l sueno me h i c i e r a v e n tu ro s o ; Mas, pues v i v i r v e la n d o me es f o r z o s o , S u f r i r s e r a p r e c i s e tu s r i g o r e s ; Y a l v e r que en t u s amores Vanamente me erapeno, M aldigo l a v i g i l i a , a la b o e l su en o . The d ic h a s o f "C ad iz tra n s fo rm a d o ’’ w ere dream ed "En una noche f r i a " ; th o s e o f "A M e lis a . Suefios" w ere dream ed "En u n a misma n o c h e ." "C ad iz tr a n s f o r m a d o ," th e p o e t s a y s , " . . . con p la c e r e l s u e fio .’’

In

con cefio M ire l a v id a , y

In "A M e lis a . S u efio s," t h e p o e t w ish es t h a t

125 h i s l i f e w ere a dream, "y a que s o lo e l sueno fu e mi v i d a . "

O f th e two

poem s, "A M e lis a . Suefios" i s th e more c o h e r e n t and u n i f i e d , a lth o u g ti " C â d iz tra n s fo rm a d o " has i n d i v i d u a l s ta n z a s o f g r e a t e r l y r i c i s m .

In

b o th poem s, th e speeches o f th e s h e p h e rd e s s e s c o n ta in th e b e s t l i n e s ; as i n a l l o f F ray D ieg o 's lo v e p o e t r y , th e fem a le c h a r a c te r s a r e more in te re s tin g :

th e y e x liib it a w id e r ra n g e o f f e e l i n g s and p o s s i b i l i t i e s .

D e lio , a s t h e p l a i n t i f f , h as th e l e s s i n t e r e s t i n g r o l e o f s u i t o r and p e titio n e r.

" T e r c e to s . D e lio , en l a g r a n ja . . . "

(p p . 1 9 1 -1 9 2 ).

By th e

w ords "en l a g r a n j a ," F ray Diego r e c a l l s one o f h i s l i n k s w ith F ray L u is de Ledn:

t h e i r m utual d e l i g h t in th e c o u n tr y s id e ab o u t S alam an ca.

In h i s c o rre s p o n d e n c e Fray Diego w r i t e s o f a h a m le t named La F le c h a , w hich he c a l l s "mi F lecha" ; n e a r t h i s h a m le t i s t h e g ra n ;]a t o w hich F ra y D iego f r e q u e n t ly r e t i r e d and w hich F ray L u is d e s c r ib e d i n Book One o f De l o s nombres de C r i s t o : E ra p o r e l mes de ju n io . . . cuando M ai-celo . . . se r e t i r o , como à p u e r to s a b r o s o , a l a s o le d a d de u n a g r a n j a que . . . t i e n e mi m o n a s te rio en l a r i b e r a d e l Tormes . . . Es l a h u e r t a g ran d e, y e s t a b a e n to n c e s b ie n p o b la d a de a r b o l e s , aunque p u e s to s s in o rd e n ; mas e so misrao h a c i a d e l e i t e en l a v i s t a , y s o b re to d o , l a h o r a y l a s a z o n . . . . Y mas a d e l a n t e , y no muy l e j o s , se v e ia e l r i o fo rm e s , que aun en a q u e l tie m p o , h in c h ie n d o b ie n sus r i b e r a s , i b a to r c i e n d o e l p aso p o r a q u e l l a v e g a . E l d i a e r a so seg ad o y p u ris im o y l a h o r a muy f r e s c a .^ ® Ih e f i r s t t e r c e t o f " D e lio , en l a g r a n j a ," En l a am orosa e s t a n c i a donde v iv o , De to d o humano t r a t o r e t i r a d o , P la n te no h a mucho tiem p o un t i e r n o o l i v o . . .

2 8 p ray L u is do Leon, De l o s nombres de C r i s t o , E s c r i t o r e s d e l S ig lo XVI, Tomo Segundo, Obras d e l M aestro F ray L u is de L eon, BAE 37 (M ad rid : E iv a d e n e y ra , I 872 ) , p . 6 9 .

126

i s str o n g ly rem in iscen t o f Fray Luis de Le6n‘ s prose d e s c r ip tio n o f M arcelo' s granja and a lso o f th e se lin e s from "Vida retira d a " : îQuê descansada v id a La d el que huye e l mundanal ruido . . . Del monte en l a lad era Por mi mano p i ant ado tengo un huerto . . . 2 9 Both poets e x to l th e r e tir e d l i f e ; hoth a ffirm t h e ir hond w ith nature through th e a c t o f p lan tin g. o f th e two p oets d iverge.

Beyond t h is p o in t, however, th e themes

Fray Luis continues on an e le v a te d p h ilo s o ­

p h ica l plane and recommends . . . l a escondida Senda por donde han ido Los pocos sabios que en e l mundo han sidol^ ^ Fray D iego, on th e other hand, q u ick ly abandons th e tone th a t lin k e d him w ith Fray Luis and b egin s, as in d ic a te d in th e s u b t i t l e , an a l l e ­ g o r ic a l n a r r a tiv e .

"D elio, en l a granja" i s a s e r ie s o f tw elv e t e r ­

c e ts intended to convince Mirta th a t she i s lo v e d by th e shepherd D e lio , th a t she i s preferred to P e r ia ; th e s u b t it l e in d ic a te s th e nature o f th e metaphor:

"D elio, en l a gran ja, da â entender â Mirta

l a p r e fe r e n c ia que de e l l a hace r esp e c te de P e r ia , bajo l a m etafora de dos o liv e s ." With th e second te r c e t, D e lio begins h is a lle g o r y about the " tiern o o liv o " th a t he planted ( l i n e s *1-13): Puse en e l a fic io n y mi cuidado; Dos veces le regaba cada d ia , Y alguna vez estando recostado A su p ie , de mis o jo s l e .anadia E l r ie g o de un extrano sen tim ie n to . 29Fray Luis de Leon, "Obras P o e tic a s," BAE 37, p . 3. 3 °Ib id .

127

Mi c u id a d o y c u l t i v e a g r a d e c ia , Y l o m o s tra b a e l p r o d ig io s o au m en to , Y como en t i e r r a f e r t i l y am orosa Echo r a i z p r o f u n d a , e s p a r c iô a l v i e n to . La h e rm o sisim a rama en pompa a i r o s a . . . The most n o t i c e a b l e s t y l i s t i c c o n tr iv a n c e i n th e poem so f a r i s F ray D ie g o 's d e v ic e o f c o n tin u in g h i s th o u g h t from one t e r c e t t o a n o th e r , as i n l i n e s 6 - 7 , 1 2 -1 3 , an d , as w i l l b e se e n l a t e r , i n l i n e s 15-16 and 24 -2 5 .

C o n v e n tio n a lly , t h e th o u g h t i s co m p leted w ith in th e t e r c e t

o r i s made t o c o in c id e w ith th e p u n c tu a tio n , as i n th e f i r s t th r e e l i n e s o f t h i s poem.

The e f f e c t o f th e s e ru n -o n l i n e s b etw ee n t e r c e t s

i s t h a t th e w hole poem a c q u ir e s b o th f l u i d i t y and a v a r i e t y o f rh y th m t h a t w ould n o t b e p o s s i b l e i f th e p a t t e r n e s t a b l i s h e d i n th e f i r s t t h r e e l i n e s w ere m a in ta in e d th ro u g h o u t th e poem.

In d eed , t h i s p o e tic

d e v ic e , and o th e r s t h a t F ray D iego u se s in th e c o u rs e o f th e poem, make th e s e t e r c e t s m ore i n t e r e s t i n g as form th a n a s c o n t e n t, e s p e c i a l l y s in c e t h e a l l e g o r y , o r th e m e tap h o r o f t h e two o l i v e t r e e s , a s F ray D iego c a l l s i t , i s som etim es am biguous. As i n d i c a t e d in th e s u b t i t l e , th e two o l i v e t r e e s r e p r e s e n t M irta an d P e r i a .

D e lio lo v e s M ir ta an d , p resu m ab ly b e c a u s e sh e lo v e s

him in r e t u r n , D e l i o 's lo v e b lo sso m s i n th e same way as t h e o l i v e t r e e t h a t he h as p la n te d and n o u r is h e d so c a r e f u l l y .

P e r i a a l s o lo v e s

D e lio , b u t D e lio d o es n o t lo v e h e r i n r e t u r n ; sh e i s lo v e d , r a t h e r , b y Maro.

P e r i a , th e o t h e r o l i v e t r e e , s e e in g th e abundance and f r u i t f u l ­

n e s s o f D e l i o 's p r e f e r e n c e f o r M ir ta , s lo w ly w ith e r s and u l t i m a t e l y d ie s o f en v y .

T h is i n t e r p r e t a t i o n o f t h e poem 's a l l e g o r y d o es n o t

a c c o u n t f o r a l l t h e te rm s o f t h e a l le g o r y on a o n e - to - o n e b a s i s w ith r e a l i t y ; w h a t, f o r i n s t a n c e , does th e p o e t mean by " e s t a n c i a " ?

Does

128

he mean h i s m o n a ste ry c e l l , th e g ra n .ja , o r sim p ly h i s c l e r i c a l s t a t e ? And w hat do t h e hc.jas r e p r e s e n t ?

Are th e y p e rh a p s th e l e t t e r s th a t

p a s s e d b etw ee n D e lio an d M irta ?

These an d o th e r q u e s tio n s c o u ld be

a s k e d ab o u t t h e poem, b u t i n a l l p r o b a b i l i t y th e y c o u ld n o t b e s a t i s ­ f a c t o r i l y an sw ered w ith o u t more e v id e n c e th a n t h e poem p r o v id e s in ­ te rn a lly . More a p p a r e n t th a n t h e r e l a t i o n s h i p o f a l l e g o r y t o r e a l i t y a r e such s t y l i s t i c d e v ic e s a s r e p e t i t i o n and v a r i a t i o n o f num erous words and a p e r s i s t e n t i n t e r i o r rhym e.

The re m a in d e r o f th e poem re a d s as

fo llo w s ( l i n e s l4 - 3 6 ) : Y y o , p a r a que mas p r e v a l e c i e r a . Con mano d i l i g e n t e y c u id a d o sa Del c o n to rn o a r r a n q u i c u a n to p u d i e r a Im p ed ir e l aum ento p r o d ig io s o ; Y con e s t o h a a r r a ig a d o de m an era. Quo aunque es a r b o l e r e c i do y muy pomposo, No h a p o d id o a r r a n c a r l e de mi e s t a n c i a E l v e n d a b a l mas t e r c o y mas f u r i o s o . Del f r u t o que me dan con a b u n d a n c ia , Con sus h o ja s y f l o r e s a p re n s a d o . Un bâlsam o saq u e de t a l f r a g a n c i a Y v i r t u d , que â mis l l a g a s a p iic a d o (Aunque y o m o rta lm e n te e s t a b a h e r i d o ) . De to d a s l a s h e r id a s he sa n a d o . Y o tr o o liv o q u e , e s ta n d o yo d o rm id o , Maro c e r c a de a l l i p la n ta d o h a b i a , P o r mas que su c r i a n z a h a p ro m o v id o , Y l e re g o ab u n d an te cad a d i a , Jamas se v io c r e c id o n i fr o n d o s o ; Y a l v e r que e l o t r o mas p r e v a l e c i a , Y â mi de que m edrase c u id a d o s o . Se h a id o m a rc h ita n d o le n ta m e n te , H a s ta que s e h a s e c a d o , de e n v id io s o . A l i n e - b y - l i n e a n a ly s is shows t h a t many w ords a r e r e p e a te d s e v e r a l tim e s i n th e poem and t h a t , in a d d i tio n t o th e r e g u l a r rhyme scheme, t h e r e i s a r e c u r r e n t i n t e r i o r rhym e. exam ple o f t h i s l a t t e r phenomenon:

L in e two i s th e m ost n o tic e a b le in th e l a s t t h r e e w o rd s, "humano

129 t r a t o r e t i r a d o , " th e a s s o n a n c e i n a-o_ i s v e r y p ro n o u n ced .

The p a t t e r n

o f i n t e r i o r and end rhymes i s a s f o llo w s : I n t e r n a l rhyme

End rhyme

L in e 2

humgi2 tr a t2

re tira d o

L in e 3

tie m p o , t i e r n o

L in e )|

c u id a d ^

L in e 5

re g a b a c a d ^

L in e 6

e s ta n d ^

L in e 8

ex tra n 2

L in e 9

cuid^do^

r e c o s ta d o

L in e 13 pompa

a iro s a

L in e 16 c u ^ to _ L in e 18 a r r a ig a d o L in e 19 ^ r b o l L in e 25 l l ^ g ^ s L in e 26 e s t a b a L in e 27

san^do_

L in e 28 e sta n d 2 L in e 29 Maro_, p i a n t a.d2 L in e 35 m a rc h ita n d o L in e 36 s e c a d o The c o m b in a tio n o f i n t e r i o r an d end rhymes t i e s th e poem to g e t h e r th ro u g h r e c u r r i n g so u n d p a t t e r n s .

T h ere i s a l s o a l e x i c a l and s e m a n tic u n ity

e s t a b l i s h e d th r o u g h th e r e p e t i t i o n o f th e fo llo w in g w o rd s: L in e 1 : L in e 1 :

e s ta n c ia ; am o ro sa;

L in e 3: p l a n t é ;

l i n e 20:

e s ta n c ia

l i n e 1 1 : am orosa l i n e 2 9 : p ia n ta d o

130

L in e U;

a f i c i o n , c u id a d o ;

L in e 5 :

re g ab a ;

lin e 8:

l i n e 9: rie g o ;

c u id a d o , c u l t i v o l i n e 31:

L in e 1 0 :

p r o d ig io s o aum ento;

L in e 1 2 :

ra iz ;

L in e 1 2 :

v ie n to ;

L in e 1 3 :

pompa;

L in e l 4 :

p r e v a l e c i e r a ; l i n e 33:

L in e 1 5 :

c u id a d o s o , d i l i g e n t e ;

L in e 1 9 :

c r e c i d o , pomposo; l i n e 32;

L in e 2 2 :

a b u n d a n c ia ;

L in e 2 5 :

l l a g a s ; l i n e 2 6 : h e r id o ;

L in e 3 5 :

lin e 18:

li n e 17:

re g o

aumento p r o d ig io s o

a r r a ig a d o

l i n e 2 2 : v en d ab a l l i n e 1 9 : pomposo

m a rc h ita n d o ;

l i n e 31:

l i n e 36:

p r e v a l e c i a ; l i n e 3 ^ : m ed rase l i n e 34:

c u id a d o so

c r e c id o ,

fro n d o s o

ab u n d an te l i n e 27:

h e rid a s

secad o

F u rth e rm o re , and in c o n n e c tio n w ith th e poem’ s h o r t i c u l t u r a l m e ta p h o r, t h e f o llo w in g te rm s form a s e m a n tic n u c le u s w ith in t h e poem: " o l i v o , " " r i e g o , " " c u l t i v o , " "aum ento," " t i e r r a f e r t i l , "

" p l a n t e ,"

" ra iz ,"

" ra m a ," " a r b o l , " " f r u t o , " " a b u n d a n c ia ," " h o j a s ," " f l o r e s , " " f r a g a n c i a ," " f r o n d o s o ." W ith a l, " D e lio , en l a g r a n ja " i s a good i l l u s t r a t i o n o f F ray D eig o ’ s h a b i t o f m aking c r o s s - r e f e r e n c e s , n o t o n ly w i t h i n i n d i v i d u a l poem s, b u t a l s o b etw een poems.

W hile t h e e f f e c t o f t h i s p r a c t i c e

w ith in a s i n g l e poem may be u n i t y and c o m p a c tn e ss, th e o v e r a l l e f f e c t on F ra y D ie g o 's canon i s u l t i m a t e l y r e s t r i c t i v e .

I t i s a s th o u g h th e

p o e t 's r e s o u r c e s and powers o f im a g in a tio n w ere l i m i t e d t o a re d u c e d num ber o f c o n v e n tio n a l id e a s and m e tap h o rs.

"E n d ech as.

A M irta , a u s e n te " ( p . 1 9 8 ).

T his poem, n o t h a v in g

b een p r i n t e d i n th e e a r l i e r e d i t i o n s , a p p e a re d f o r t h e f i r s t tim e in

131 C u e to ‘ s c o l l e c t i o n f o r th e BAE; i t was c o p ie d fro m th e m a n u s c rip t poems w hich F ray Diego s e n t to

J o v e lla n o s .

31

The poem c o n s i s t s o f t e n q u a­

t r a i n s , e ac h o f w hich c o n ta in s th r e e s e v e n - s y l l a b l e l i n e s and one e le v e n -s y lla b le l i n e .

In i t s

f i r s t l i n e s , D elio r e c a l l s a p ro m ise

fro m th e e c lo g u e " D e lio y M i r t a ," in w hich he s a y s , . . . l a pena Con m is v e rs o s te m p la r h e d i s c u r r i d o . . . Yo t e l o s e n v i a r e , p o r que mis m ales L ogren a lg u n a v ez e n t e r n e c e r t e . The f i r s t tw o l i n e s o f t h i s poem a r e : P o r a l i v i a r m is penas Te e s c r i b o , M ir ta herm osa ^A ccordingly, th e s e en d ec h as can b e s a i d t o have a s t h e i r p u rp o s e t o to u c h M ir ta ’ s h e a r t and t o a l l e v i a t e th e p o e t 's so rro w a t M i r t a 's ab sen ce. F ray D iego b u i l d s t h e s e en d ech as upon t h e c o n t r a s t b etw een h i s p r e s e n t so rro w a t M r t a ' s a b s e n c e and th e jo y t h a t M i r t a 's r e t u r n w ould b rin g .

The f i r s t f i v e q u a t r a in s ( l i n e s 1 -2 0 ) r e a d as f o llo w s : P o r a l i v i a r m is penas Te e s c r i b o , M ir ta herm osa; Mas dudo d e l a l i v i o ; Que l a p en a es mayor con l a m em oria. 6Cuando, mi d u lc e M ir ta , Cuando s e r a l a h o ra Que t u p r e s e n c i a amada A le g re f i n â mi am argura ponga? iCuando a h u y e n ta r a s , cuândo, T i n ie b l a s h o r r o r o s a s . Que â un in o c e n te pecho E n t r i s t e c e n , oprim en y so fo can ? C o rre e l tiem p o â m is danos Con p l a n t a v o la d o r a , Y â m is p l a c e r a s anda Con p l a n t a l e n t a , to r p e y p e r e z o s a .

31 Cueto, op. c i t . , p. 1 9 8 , n. 1.

132

iC u ân tas v e c e s ( î q u ê d ic h a î ) A t u p u e r ta am orosa Llamo y d ig o : "A b re, M ir ta , Y a h u y e n ta con t u r i s a m is c o n g o ja s ! " I n th e f i r s t q u a t r a i n , th e p o e t c o n t r a s t s p e n a s-p e n a -d u d o and a l i v i a r a liv io - m e m o r ia ; i n th e s e c o n d , th e c o n t r a s t i s betw een p r e s e n c i a amada and am ai-gura.

The seco n d q u a t r a i n a ls o p r e s e n t s th e f i r s t h a l f o f a

b a la n c e d tw o - p a r t q u e s tio n — "iC u an d o , mi d u lc e M ir ta . . . " — , t o be fo llo w e d i n th e n e x t s ta n z a by t h e se c o n d h a l f — "&Cuando a h u y e n ta r a s , cuando . . . "

L in e 1 2 , " E n t r i s t e c e n , o p rim en y s o f o c a n ," in tr o d u c e s a

r h y th m c f i g u r e o f th r e e s t r o n g b e a t s t h a t i s r e p e a te d in l i n e "Con p l a n t a l e n t a , to r p e y p e r e z o s a . "

l6 ,

L in e l 6 a l s o r e p r e s e n t s th e

se c o n d h a l f o f a n o th e r tw o - p a r t c o n t r a s t , t h i s tim e w ith in a s i n g l e s t a n z a ; t h e c o n t r a s t i s b etw een c o r r e - d a n o s - p la n ta v o la d o ra and p la c e re s -a n d a -p la n ta l e n t a . The l a s t f i v e q u a t r a in s r e a d as f o llo w s ( l i n e s 21-ijO ); !Y c u a n ta s id o l o r f i e r o ! M irando ta n rem o ta La e s p e ra n z a de v e r t e , Lagrim as t r i s t e s de m is o jo s b r o ta n î Ya f a t i g o l o s m ontes Con voces l a s t i m o s a s , P id ie n d o le s â M ir ta , Y t a n s o lo e co s t r i s t e s me r e to r n a n . Ya de l a c r u e l D ian a Me quej o ; y a â l a herm osa Venus s u p lic o hu m ild e Que â mis am antes q u e ja s c o rre s p o n d u . Vén, p u e s , q u e r id a M ir ta , Y e l mal que me d é v o ra T ru ê c a lo en a l e g r i a Con t u p r e s e n c i a d u lc e y am o ro sa. D ios t e g u ard e mas anos Que h i l o s t i e n e n l a s to c a s Del r e f u l g e n t e A polo. Torm es, â dos de E n e r o .— Q uien t e a d o r a . L in e s 17 and 21 a r e c o n t r a s t e d and b a la n c e d a g a i n s t each o t h e r :

133 " iC u â n ta s v ece s ( i q u â d ic h a ) " c o n t r a s t s w ith " lY c u â n ta s î d o l o r f i e r o î " ; th e p o e t b a la n c e s t h e l i n e s by c o n s tr u c tin g them o f s i m i l a r s y n t a c t i c a l e le m e n ts .

The s e v e n th q u a t r a in e x h i b its a b a la n c e o f a d i f f e r e n t

n a t u r e ; i t i s n o t a b a la n c e o f c h a r a c t e r i s t i c s o r o f g ra m m a tic a l e l e ­ m en ts, as in o th e r s t a n z a s , b u t r a t h e r a b a la n c e , o r c o rre s p o n d e n c e , ta k e n fro m n a t u r e .

The m o u n tain s r e tu r n th e p o e t 's la m e n t t o him ; h i s

"voces la s t im o s a s " come b a c k t o him as " eco s t r i s t e s " ; th e p o e t i c e f f e c t o f th e p l a i n t i v e v o ic e and th e r e tu r n i n g echo w ith in t h i s s t a n z a i s t h a t th e q u a t r a in i s c l o s e d , ro u n d ed , as i t w e re , an d c o m p le te d . In th e f i r s t s i x q u a t r a i n s . Fray D iego a c h ie v e s a s e n s e o f b a la n c e and c o n t r a s t b y means o f s y n t a c t i c a l and l e x i c a l e le m e n ts . In th e l a t e r s t a n z a s , h e a c h ie v e s ^■''he same e f f e c t b y more s u b t l e means.

The e i g h th s t a n z a c o n t a in s , i t i s t r u e , an o b v io u s p a r a l l e l i s m

i n "Ya de l a c r u e l D ian a me que jo " and "y a â l a h erm o sa Venus s u p lic o ." Less ob v io u s i s th e f u n c ti o n o f th e word " T ru ê c a lo " i n th e n i n t h s ta n z a ; i t i s th e k ey t o th e s e n s e o f b a la n c e and c o n t r a s t t h a t has been so c a r e f u l l y m a in ta in e d t o t h i s p o in t i n t h e poem.

Up t o t h i s

p o i n t , th e p o e t la m e n ts M i r t a 's ab sen ce ; in th e n i n t h s t a n z a , he makes a d i r e c t a p p e a l— "Y en, p u e s , q u e r id a M ir ta ."

The p o e t w ish e s t o ex­

change h i s s a d n e s s f o r h a p p in e s s ; th e te rm s o f th e b a r t e r a r e " e l mal que me d é v o r a ," o r M i r t a 's a b s e n c e , and " a l e g r f a , " o r M i r t a 's sw eet and lo v in g p r e s e n c e .

The p o e t 's h a p p in e s s and u n h a p p in e ss h ang i n th e b a l ­

a n c e , a s i t w e re ; in t h e t r a d e , th e p o e t w ould ex ch an g e one f o r th e o th e r . The c o n v e r s a t io n a l to n e and easy s c a n s io n o f t h e s e en d ech as b e l i e th e c o m p le x ity o f t h e i r s t r u c t u r e .

I t c o u ld b e s a i d t h a t th e s e

134 q u a t r a in s h av e t e x t u r e as v e i l a s s t r u c t u r e :

i t i s made up o f t h e

th r e a d s o f c o n t r a s t and b a la n c e t h a t th e p o e t weaves i n t o h i s poem.

"A L ise n o " (p . 1 9 5 ).

I t can b e su rm is e d t h a t , a t th e tim e t h a t

t h i s poem was w r i t t e n . F a th e r F e rn a n d e z de R ojas (L is e n o ) h ad l e f t S alam anca and was in A lc a la de H e n a re s .

From A lc a la , F a th e r F e rn a n d e z

m ust h av e w r i t t e n t o Fray D ieg o , p e rh a p s co m p lain in g a b o u t b e in g s e p a r a t e d from h i s f r ie n d s on th e b an k s o f th e R iv e r Tormes.

I n any

e v e n t. F ra y D iego say s in t h i s poem t h a t L ise n o sh o u ld r a t h e r r e j o i c e i n th e f a c t t h a t , in A lc a la , h e can e n jo y th e good f o r tu n e o f lo o k in g upon th e b e a u t i f u l L i s i .

A c c o r d in g ly , F ray Diego b e g in s t h i s poem w ith

a l i n e fro m h i s " L la n to de D e lio y p r o f e c i a de M anzanares" i n w h ich th e r i v e r - g o d c h id e s D e lio f o r d w e llin g on th e lu g u b rio u s s i d e o f c o n te m p o ra ry e v e n t s ; th e R iv e r M anzanares b e g in s th u s ( l i n e s 2 3 6 2 4 1 ): iP o r que t e d as to r m e n to . P a s t o r des a c o rd a d o , Y l l e n a s de c lam o res m is r i b e r a s ? Cese y a t u 1 am ento, Y â son mas e le v a d o Tempia l a d u lc e l i r a p l a c e n t e r a . . . A n o th er poem, ’’S a t i s f a c c i o n d e l G e n ii t r i u n f a n t e , " b e g in s w ith t h e same f i r s t l i n e an d c o n tin u e s in th e same v e in : iP o r que t e d as to rm e n to , D arro . . . iOh! d e ja l a q u e r e l l a y e l la m en to , Y t o r n a â d a r c o n te n to y a l e g r i a A t u a n g o s tu r a u m b ria . . . T h is , i n sum, i s w hat F ray D iego i s t e l l i n g F a th e r F ern an d ez in "A L is e n o ," f o r h e b e g in s ( l i n e s 1 - 5 ) : iP o r que t e d as to r m e n to .

135

___________

L iseno» s i t e da e l c ie lo santo E l mirar e l portento Que a l Tajo pone espanto Y ê sus la b io s renueva e l sà b io canto? Whatever may have been the nature o f L ise n o 's com plaint, i t would be b e t t e r , sa y s th e p o e t, th a t L iseno dw ell on h is good fo rtu n e, fo r heaven has granted him the boon o f contem plating L i s i ' s beauty and lis t e n in g t o her con versatio n . a l Tajo pone esp a n to ."

I t i s she who i s - t h e "portento Que

This lin e should have p a r tic u la r s ig n ific a n c e

fo r Father Fernandez, fo r he h im se lf i s d escrib ed in s im ila r terms in another p assage o f Fray D iego’ s " P rofecia de Manzanares" ( lin e s kh9-h^2): . . . L isen o, A quien oye Compluto con esp an to, Y t a l vez e l Henares Alzo e l pecho atendiendo ê. sus cant a r e s . Now i t i s L i s i o f whom i t can be sa id "al Tajo pone espanto"; fu r th e r ­ more, i t i s she who in s p ir e s th e r iv e r -g o d to s in g her p r a is e .

In t h i s

co n n ectio n , i t i s worth n otin g th a t in th e I 8 l2 and I 8 l7 e d itio n s o f t h is poem, li n e 5 reads "Y â sus Lasos renueva e l sa b io canto," meaning th a t L is i in s p ir e d th e p a sto r a l poets (th e Garci L asos) o f A lca la de Henares t o s in g once more in th e b u c o lic t r a d it io n o f th e Greek and Roman p o e ts . C h a r a c te r is tic o f Fray D iego’s p r a is e o f women are th e second and th ir d s ta n z a s , i n which L is i i s p r a ise d more fo r her s p ir it u a l g i f t s than fo r her beauty ( li n e s 6 -1 5 ): Dichoso y bienhadado Quien lo g ra ver de L is i l a lu z pur a . Do con modo no usado La gran madre natura C ifro e l numen, l a g ra cia y l a hermosura. Ver e l r o stro halagüeno Donde mora e l agrado de co n tin o , Y nunca e l negro ceno

136

Ni otro vapor malino A lterô lo sereno y c r is t a li n o . . . While th e p oet does e x to l L i s i ' s grace and b ea u ty , he admires her more fo r her "luz pura," fo r her a f f a b i l i t y , and. for her serene and tra n ­ q u il nature.

Then, in an ingenious s im ile , the poet manages to com­

bin e both p r a ise fo r L i s i ' s con versation and th e water imagery o f which he i s so fond ( lin e s 16 -2 0 ): Y aquel hablar sabroso. Entre carmin y p e r la s fa b rica d o , Correr cual e l p r e cio so Raudal r ecien formado. Sobre la s puras g u ija s d e sliz a d o . L i s i ' s d e lig h t f u l speech i s formed between— and by the in te r a c tio n o f —her crimson l i p s and her p e a r l- lik e te e th ; her conversation flow s sm o o th ly , l i k e a f r e s h t o r r e n t o r S p r in g , o v e r c le a n and p o lis h e d

pebbles..-. The. -pebbles o f th e l a s t l i n e are another referen ce to L i s i ' s te e th ; t h is r efer en ce u n ifie s th e sta n z a and, in c id e n t a lly , the p o e t's comparison, fo r th e pebbles and the p e a r ls are both water phenomena. I t w i l l be remembered th a t th e R iver Manzanares had c a lle d the ^.rieving D e lio "Pastor desacordado" and had enjoined him t o tune h is ly r e "â son mas elevad o."

In "A L isen o ," th e p oet again emphasizes

th e i r r a t io n a lit y , th e in g r a titu d e even , o f L isen o 's lam ent.

Thus,

in the f i f t h stan za ( lin e s 2 1 -2 5 ), th e poet admonishes Liseno: îOhî no ya in g ra to a l c i e l o , Torna, oh caro L isen o , en tu cordura; Recobra tu con su elo, Y d eja l a t r is t u r a A l malhadado D elio y s in ventura. The words "Torna . . . en tu cordura" r e c a ll the "Pastor desacordado" o f th e " P rofecia de Manzanares"; th e words "no ya in g ra to a l c ie lo " r e ­ c a l l th e second l i n e o f t h is poem, "te da e l c i e l o sa n to ."

The p o e t

137

a lso co n tra sts h is own s ta te w ith th a t o f Liseno:

i f in b ein g ab le

to se e and hear L is i Liseno i s "Dichoso y bienhadado," D e lio , on the oth er hand, is "malhadado . . . y s in ventura."

This sta n za , th en , has

rem iniscences o f e a r li e r l in e s o f th e same poem, even as i t has r e ­ m iniscences o f other poems; to what e x te n t th e l a t t e r i s tru e w i l l be . seen even more c le a r ly in the rem aining sta n z a s.

For the moment, i t

should be noted t h a t , to t h is p o in t, "A Liseno" i s r e p r e se n ta tiv e o f Fray D ieg o 's canon in i t s in te r n a l and e x te r n a l c r o s s -r e fe r e n c e s . Beginning w ith lin e 2 6 , the poem s h i f t s i t s emphasis from L iseno to D e lio .

Line 25 introduced D elio as "malhadado . . . y s in ventura";

beyond t h is p o in t, th e poem i s about him ra th er than about L isen o. Perhaps because Fray Diego i s n o w V r itin g about D e lio , th ere w i l l be echoes o f G arcilaso de la Vega in th e l a s t four stanzas and th e poem w i l l end w ith lin e s taken d ir e c t ly from Fray Luis de Leon.

The r e ­

mainder o f th e poem ( lin e s 26-^5) reads: IAy! s i en tre ta n to s m ales. Me fu e s e , como â t i t e e s , concedido El v er lo s d iv in a le s Ojos donde Cupido Reina, mas fu e r te que su madre en Gnido; Dejando mi ganado Del Tormes argentado en l a r ib e r a , De e l dulce b ie n lle v a d o , Por do quiera que fu e r a , Como l a sombra a l cuerpo, l a s ig u ie r a . 0 ya por l a esp esura Al c ier v o con s a e ta f a t ig â r a , 0 y a en la mârgen pura Del Tajo se sen ta r a , Y su s voz en la s aguas resonâra, D el canto suspendido, V iv iera de mis danos o lv id a d o , Puesto e l a ten to oido Al s6n de dulce acordado Del p le c tr o sabiam ente meneado. The n e x t - t o - la s t l i n e (W ), as p r in te d in th e BAE e d itio n , does not

138

fo llo w th e e d itio n s o f l8 l2 and 1817» which omit the word i t fo llo w e x a c t ly th e l i n e as Fray L u is wrote i t . tir a d a ," Fray Luis wrote "Al son d u lc e , acordado."

nor does

In h is "Vida r e ­ Aside from th is

v a ria n t rea d in g , th e l a s t three l i n e s o f "A Liseno" are a ls o th e l a s t l i n e s o f L uis de Leon's "Vida r e tir a d a ." On th e su b je c t o f six te e n th -c e n tu r y in flu e n c e s upon Fray D iego, P r o fe sso r Mongui6 provides th is commentary: No doubt one a ls o hears in the above-quoted stanzas echoes o f a number o f o th er l i n e s o f Father L u is 's , even to h is mannerism o f tri-m embered lin e s : "Cifro e l numen, l a g ra cia y l a hermosura," w r ite s Gonzalez as Leon had w r itte n : "de o d io , de esp eranzas, de r e c e lo ," "ioh monte! ioh fu e n te ! ioh r i o !" or "lo que e s , lo que s e r a , l o que ha pasado"; t r i p a r t i t e lin e s are frequent o f course in a l l six te en th -ce n tu ry v e r s e -w r itin g ; w itn ess fo r in sta n ce th e " d e c id le que ad olezco, peno y muero" o f Saint John o f the Cross. As a m atter o f fa c t in G onzalez's "A Liseno" th ere is a ls o a f a i n t echo o f one o f S t. John 's fa v o r ite images: "al c ier v o con s a e t a f a t i gara," w rites G onzalez, a r e f le c t io n , I b e lie v e , o f " e l'c ie r v o vulnerado" or "como c ie r v o h u is t e , / habiendome h erid o ," o f th e Carm elite p o e t. And s in c e we are on the su b ject o f s ix te e n th century e c h o e s , we might n o tic e in th e l i n e s o f "A Liseno": "O ya en l a margen pura / Del Tajo se sen ta ra , / Ysu voz en la s aguas reson ara," a rem iniscence o f th e "agua cla ra con sonido" or "al rumor que son aba / d el agua que pas aba" o f G a r cila so 's f i r s t e c lo g u e .32 There are o th er r e c o lle c t io n s o f G a rcila so in "A Liseno":

Fray D ieg o 's

r efer en ce to Cupid and Venus in N aples (Gnido) r e c a lls th e "Cancion Quinta" o f G a r c ila so , which i s a ls o known as "cancion a l a f lo r de Gnido."

Furthermore, th e sta n z a ic form o f "A Liseno" i s a v a r ia tio n

o f G a r c ila so 's l i r a and

form: G a r c ila so 's stanza i s composed o f f iv e

e le v e n - s y lla b le l i n e s ,

sev e n -

rhymed àBabB; Fray Diego uses the same

rhyme schem e, but th e r e la tio n s h ip o f seven - t o e le v e n -s y lla b le lin e s i s d if f e r e n t , ababB.

F in a lly , i t w i l l be remembered th a t l in e 5 in

32Mongui6, op. cit., p. 250.

139

the 1812 and I 817 e d itio n s reads "Y â sus Lasos renueva e l sahio canto."

W ithal, i t can he seen th a t G a rcila so , Fray Luis de Leon,

and San Juan de l a Cruz were a l l , to one degree or another, in Fray D iego's awareness as he wrote t h is poem to h i s fr ie n d Liseno. "En l o s d ia s de L isi" (p. 2 0 2 ).

Some o f the sentim ents expressed

in "A Liseno" are a ls o in "En lo s d ia s de L is i ," sin c e both poems have t o d o , u l t i m a t e l y , w ith D e l i o 's lo v e f o r L i s i and w ith h i s sorrow a t b e in g s e p a r a t e d fro m h e r .

poetry:

T here a r e a p p a r e n tly tw o .L is is in F ra y D ie g o 's

one i s c a lle d " L is i, malaguena," presumably to d is tin g u is h her

from th e L i s i in A lc a la de H e n a re s.

T here i s n o th in g t o i n d i c a t e

th a t the two L is is are th e same person or th a t L is i, malaguena, was ¥ ■ ever in A lc a lâ ; what i s c e r ta in , however, i s th a t the L is i o f "A Liseno" a a d -th e-L iei -o f t h i s poem-are the sam e-person.

As in "A L iseno,"

D e lio n otes w ith sadness h is sep a ra tio n from L is i and compares h is own s t a t e w ith th e fo rtu n a te s t a t e o f he who s h a l l spend h is l i f e look in g upon L i s i ' s b eau ty.

But, giv en th e o cca sio n th a t in sp ire d th is poem

.0 L i s i —her b irth d ay— , D e lio mentions h is sadness o n ly in p assin g;

the r e s t o f th e poem he d ed ica tes t o L i s i ' s p r a ise and to w ishes for her happiness and lon g l i f e . The poem c o n s is ts o f e i^ t y - t w o s e v e n -s y lla b le l i n e s , d ivid ed in t o stanzas o f both four and s i x l i n e s .

Throughout, th e even l in e s

are rhymed in e_-a; the qu atrains read smoothly and r a p id ly , and are a good example o f Fray D iego's f e s t i v e s t y l e .

The f i r s t four quatrains

( lin e s I - I 6 ) read thus: No s a l e t a n g a l l a r d a P o r l a s d o ra d a s p u e r t a s ,

lUo Del Oriente l a aurora En la s mananas f r e s c a s , Como hoy en la s o r i l l a s Del Tajo t e p r é se n ta s. Oh b e ll a L is i mia, A celehrar tu f i e s t a . Al paso que lo s g ir o s De l a c e le s t e rueda Tus h e llo s anos forman, Tus cla ro s d ias cuentan, Con pasos f lo r e c ie n t e s Tu verde primavera Va caminando a l grado De juventud p e r fe e ta . These lin e s portray L is i as being in th e v ery Spring of l i f e and beauty; there i s no h in t whatever th a t l i f e p a sses or th a t beauty fa d es. On th e con trary, " g a lla r d a ,” "doradas p u erta s," " el O riente," " la aurora," "las mananas fr e sc a s," " h e llo s anos," "claros d ia s ," "pasos f lo r e c ie n t e s ," "verde primavera," and "juventud perfecta" a l l express unbounded prom ise. But even p o e ts , lo v e r s , and f a i r maidens must admit th a t youth and beauty are not e te r n a l; and, should such a th o u ^ t have crossed L i s i ' s mind on her b irth d ay, th e poet i s quick to assure her th a t she a t l e a s t w i l l be spared th e ravages o f p a ssin g tim e (lin e s 17-32): El tiem po, que grosero C astiga otras b e lle z a s Con canas que e n v ile c e n 0 con rugas que afean . Va pintando en tu r o s t r o . Con mano sab ia y d ie s t r a . Mil g ra cia s p e r eg r in a s. Mil p erfeccio n es nuevas. B r i lla en tu f ren te hermosa La lu z muy mas serena; Ni mas resp la n d ecien te Su r o str o a l c i e l o muestra La luna p la tea d a . Que e l tuyo tû â l a t i e r r a Do imprimes hoy tu s p la n ta s La d elica d a h u e lla .

l4 l On such a day o f "gozo” and " tan ta f i e s t a ," i t would be inappropriate fo r th e p oet to remind L is i th a t sh e, to o , w i l l f a l l v ic tim to "canas que envilecen " and "rugas que afean"; a c co r d in g ly , he r e g a le s her with the f i c t i o n t h a t , w h ile tim e may ravish th e beauty o f o th e r s , hers w i l l gain in "I4il g r a c ia s p ereg rin a s, Mil p e r fe c c io n e s nuevas." The r e c o lle c t io n o f L i s i ’ s beauty moves th e poet t o lament h is absence from h er; he does so only b r i e f ly , then w is t f u l ly imagines to h im se lf th e good fortune o f whomever L is i should lo v e ( lin e s 1^9-68): iAy t r i s t e s , ay dichosos Los ojo s que te vean! Dichosos s i t e agradan. T r iste s s i lo s d e sp r ec ia s. Aun en l a ausencia dura Mi alma lo s contempla, Y su lu z l a embriaga. Sus llam as l a penetran. M il veces bienhadado E l joven que merezca El gozar para siempre De tu amable p resen cia . Logrado habrâ en t i s o la ( IOh venturosa e s t r e l l a ! ) Un c i e l o , un s o l , un fe n ix , Y un diamante en fin e z a . Nunca tan claro c ie lo Las nube s oscurezcan, Y s o l tan r efu lg e n te Jamas ocaso tenga. In th ese l i n e s D e lio g iv e s vent to h is emotions much as he did in "A L iseno"; th e s e l i n e s , however, have th e added w is tfu ln e s s o f the old er man's r e g r e t and t a c i t envy—" . . . bienhadado e l joven . . . que merezca gozar . . .

de tu amable p resen cia ."

Again as in "A L iseno,"

the poet c o n tr a s ts "dichosos . . . o jo s," "bienhadado . . . joven," and "venturosa e s t r e lla " w ith the im plied unhappiness o f h is absence. Some o f th e s e lin e s are s tr ik in g in t h e ir balanced proportions: . ".Dichosos s i t e agradan. T r is te s se lo s d esp recia s" ; "Un c i e l o , un s o l .

142

un fé n ix , Y un diamante en f i n e z a ,” in which th e sounds o f "fineza" reverse some o f th e sounds o f " fen ix ."

S im ila r ly , th e la st-q u o te d

stanza i s f i n e l y balanced both in form and in t h o u ^ t .

The terms o f

th e c o n tra st are; cla ro -o scu rid a d , c ie lo -n u b e s , s o l r e fu ls e n te -o c a s o ; the c o n tr a stin g q u a lit ie s them selves are framed w ith in th e p a r a lle l nunca-jamas.

U n fortu n ately, the l a s t two quatrains o f "En lo s dias de

L isi" are p e d e str ia n in comparison:

f i r s t because o f an in f e l i c i t o u s

metaphor, second because o f a clumsy circum locution ( lin e s 69 - 7 6 ): Tu v id a â lo s diamantes En duracion exceda, Y l a f ic c io n de Arabia En t f verdad se vea, Y tu s amables p ad res, Con tu s hermanas, sean T estig o s o cm. are s De edad tan duradera. K ot-even p o e tic lictSTKre'A-dll admit the n o tio n o f such age as th a t su ggested by th e p o et, e s p e c ia lly i f one co n sid ers t h a t , with L is i a t such an a g e, her "amables padres" would o f course be even o ld e r .

A

conrparison o f th e se two stan zas w ith th e fo reg o in g quatrains i l l u s t r a t e s tn e th in l i n e th a t sep arates poetry from c o m ic a lity .

As fo r "T estigos

o c u la r es," i t seems u n n ecessa rily e r u d ite , more l i t e r a l than p o e t ic , more a circum locu tion than a p o e tic u ttera n ce. N otw ithstanding th e weaknesses o f a few sta n z a s, "En lo s d ias de L is i," co n ta in s some o f Fray D ieg o 's b e tt e r l i n e s , due to th e b re­ v i t y o f th e s e l i n e s and to th e ea se w ith which they scan .

The balance

and f l u i d i t y o f most of th e stanzas make up f o r the d e fe c ts o f a few o th e r s . "A L i s i , malaguena" (p . 2 0 3 ) .. As was th e previous poem, t h is

Ik3

poem, to o , is rhymed throughout in ej-^; in a l l but one sta n za , the eissonant rhyme i s in the even l i n e s .

There are twenty stanzas o f four

l i n e s each and two stanzas o f s i x l i n e s ; th e le n g th o f a l l th e lin e s i s seven s y lla b le s .

Fray Diego b egin s th is poem to L i s i , malaguena,

in the same way th a t he began th e poem to the L is i in A lc a lâ de Henares, by a n e g a tiv e comparison.

In that poem he began "Wo s a le tan

g a lla rd a . . . l a aurora / en la s mananas fr e sc a s

in t h is poem he

begins "Wi l a ru b ia C alipso / mostro mayor tern eza . . . "

Both poems

are paeans to th e beauty and su p erior q u a litie s o f th e two L is is ; and though they d if f e r in to n e , both are a lso ex p ressio n s o f r eg r e t at the p o e t's absence from h is la d y .

"En lo s dias de L isi" was c a lle d forth

by a f e s t iv e o c c a sio n , L i s i ' s b irth d a y ; "A L i s i , malaguena" narrates th e events o f th e morning o f D e lio 's departure from Malaga.

D elio com­

pares h is departure with th a t o f U lysses from Calypso and o f Aeneas from Dido ( lin e s 1 - lk ) and, la t e r , he compares L i s i ' s lea v eta k in g with th a t o f T hetis from her son A c h ille s . Ni l a rubia Calipso Mostro mayor terneza Cuando de l a i s l a O gigia U lis e s se l e ausenta; Ni l a famosa Dido Hizo mayor fin e z a Subiendo a l a lt o techo A v er p a r tir su Enéas; Como ha debido â L i s i , D ivin a malaguena, El malhadado D e lio , A quien l a su e rte f ie r a Di6 l a dicha de amarla Al tiempo de perderla. CXfing t o h is v o ca tio n in l i f e , and to h is own n a tu re, which prevented him from compromising h is c l e r i c a l vows. Fray D ieg o 's lo v e poetry must needs have been concerned w ith separation and absence.

Thus, h is poems

lU to Mirta and M elisa have g e n e r a lly th e same theme:

th e dreams o f a

romantic s e n s i b i l i t y confronted v it h th e harshness o f r e a l i t y , or the p e t ii t io n o f an absent or a n e g le cted lo v e r .

Here» to o , in "A L i s i ,

malaguefia," D e lio complains o f h is sep aration from L i s i and o f a m alig­ nant fa te th a t tem pts him w ith lo v e , then deprives him o f i t . The circum stances surrounding D e lio 's departiure are narrated in the poem as fo llo w s :

th e sound o f hoofbeats in t h e s t r e e t below

in d ic a te s to L is i th a t D e lio "para siempre se ausemta"; L i s i , "De m il cuidados lle n a ," has n ot been able to s le e p and, upon hearing D elio depart, a r is e s from her bed to b id him fa r e w e ll.

S c o r n fu l o f the

morning c h i l l , L i s i seeks no wrap t o warm h e r s e lf — •*Que o tro fuego le quema."

The p o et con tin u es ( lin e s 31-50): S a lta d el ca sto le c h o . Sin buscar mâs decencia Que l a que a l a co sta rse Previene una d on cella. E l ca b ello s in 6rden Claramente demuestra Cuanto aventaja a l a rte La f i e l n atu raleza. E l cambray d elica d o , Avaro y c r u e l, in te n ta Cubr i r e l bianco pecho, Tesoro de b e lle z a , Y en parte l o co n sig n e, Pero â l a v is t a deja Dos breves h em isferio s De n ie v e , que l e afren tan . De l a breve cin tu ra Airosamente cuelgan Los lie n z o s que â lo s o jo s Hoban mejor Elena. As regards th e d e scr ip tio n o f women in h i s poems, th ese are

Fray D ie g o 's most e x p l i c i t l i n e s .

According to Cueto, Fray Diego "ante-

ponia siem pre l a s prendas d el alma â la s p e r fe c c io n e s corporales"; as • evid en ce, Cueto c i t e s th e fo llo w in g excerpt from Fray D iego's

correspondence : Siento (e s c r ib e â J o vella n o s en 1778) que Vm no v ie s e en Cadiz â l a f i e l M irta. Ciertamente no hubiera Vm. v i s t o una Vënus » sin embargo de que nada tie n e de d esp recia b le su fig u r a ; pero al mênos h a lla r ia un alma digna de ser amada, encerrada en un cuerpo lle n o de m odestia y compostura; prendas que l e granjearon todo e l amor de D e lio , quien aborrece toda mujer que no se r e comienda â sus o jo s por medio de t a l e s prendas. D elio speaks o f L i s i , malaguena, as b ein g p o ssesse d o f " sin g u la r fin eza" ; she i s , th e r e fo r e , worthy o f h is lo v e .

But, as th e above lin e s in d i­

c a te , D elio was n o t in s e n s ib le o f L i s i ' s " p erfeccio n es co rp o ra les." Indeed, Father Fernândez de Rojas records th a t D elio was o f a lo v in g nature and th a t he acknowledged feminine beauty where he saw i t .

Father

Fernandez p refa ces h is remarks about D elio w ith a gen eral statem ent on the i r r e s i s t i b l e fo rce o f beauty'and v ir tu e : Toda l a f i l o s o f i a de E p ic te to , todos lo s e sfu e r z o s de l a t r is t e z a y^ol* rigor-'se-desvam ecen’ y gttedarr in e r te s en p r e se n c ia de un colorid o v ir g in a l y de unos ojos b r i l l a n t e s , s i g n i f i c a t i v e s y m odestos. El maestro Gonzalez no era de aq u ello s e s p ir it u s m elanc6licos y sombrios que desconocen l o amable de l a v ir tu d y lo m aravilloso de la s obras d el C riador, porque s e h a lle empleado en e l sexo fem en il. Amô cuanto conociô que era amable, porque era bueno, y proeuro celeb ra r con sus versos lo s dones c e l e s t i a l e s que admiro en alguna que o tr a b e lle z a , pero en unos v erso s tan puros y c a sto s como su aim a.3^ D e lio , th en , was s u s c e p tib le to th e charms o f fem inine beauty and he p raised i t in h is poems, but u su a lly a t a d is ta n c e .

His lo v e poems are

addressed t o M irta in Cadiz, to M elisa in S e v i l l e , to one L is i in yp.cala, and to another in Malaga.

I t may have been Fray D ieg o 's own

choice to absent h im se lf p erso n a lly from the women o f h is poems, at

33cueto, op. c i t . , p. CIX, n. 3. 3^Fray Juan Fernandez de R ojas, "N oticias d e l M. Gonzalez," P oesias d el M. Fr. Diego Gonzalez (Madrid, l 8 l 2 ) , n .p .

l46 the same time th a t he lam ented h is absence from them and celebrated t h e ir beauty and v ir tu e in w r itin g .

At any r a te , h is poems are as

innocent as L iseno says th ey a re, or a t l e a s t as in n o cen t as Liseno tran sm itted them to fu tu re read ers. In th e th ir te e n th sta n za o f t h is poem to L i s i , malaguefia, D e lio makes th e same comparison th a t he made in th e opening stanza o f h is birth day song to L is i in A lcala:

th e sun has never r is e n more

b e a u t ifu lly nor g r a c e fu lly than did L is i when she r o se from her bed to wave fa r e w e ll to D elio ( li n e s 51-5^): Nunca l a fr e sc a aurora Se le v a n to tan b e l la A d esterra r la s sombras De l a noche fu n e sta . . . In th e s e l i n e s , th e poet e s ta b lis h e s a lin k between both poems through the us"e of^the- same' metaphor and even some o f the same words; having done t h i s , c o n sc io u sly or u n co n scio u sly , th e poet th en re-in tro d u ces th e C la s sic a l theme which opened th e poem ( lin e s 5 5 -6 2 ): Jamas l a blanca T e tis Cumplio su anual promesa A1 sep u lcro de A quiles Con ta n ta g e n tile z a ; Como por dar â D e lio La v i s t a postrim era 8 a lio d el lech o L i s i . IOh Musa, s i l a v ie r a s ! Again, as in h is poem to th e oth er L i s i , th e poet b a la n ces h is n egative comparison by th e use o f th e synonyms .jamas and nunca.

U nfortunately,

the poet c o n tin u e s, L is i does not see D e lio ; she retu rn s to bed and D elio le a v e s Malaga, ign oran t o f L i s i ' s appearance a t her window (lin e s 71-7% ):

L is i se vuelve a l le c h o ; D e lio t r i s t e se a le j a .

Ik7 Ent6nces ignorante De tamafia fin e z a . I f D e lio vas unaware o f L i s i ’s fa r e w e ll g e stu r e, th e reader must ask, on what i s D e lio ’s e a r lie r d e s c r ip tio n o f L is i based?

Such a n ig g lin g

q u e s tio n , though not important to th e u ltim ate su ccess or f a ilu r e of th e poem, must a ls o have occurred t o the p o e t, fo r he goes on t o ex­ p la in ( l i n e s 75 - 8 0 ): Mas luego n o t ic io s o , S ie n te a l doble l a ausencia. Se queja de su su erte, Blasfema de su e s t r e l l a , Y a l a ir e vago esparce T ristisim a s endechas. The

l a s t th ree quatrains are appended to t h is poemaccordin g

a form ula e s ta b lis h e d by Fray Diego in

s e v e r a l other songs

to

( l i n e s 8I -

9 2 ):

Vê â Malaga volando. Mi dulce c a n tile n a , Y goza l a ventura Que â tu amor se l e n ieg a . Y s i lo g r a s l a dicha De ll e g a r â l a s b e lla s Manos de L is i hermosa. Mil v e c e s se l a s besa; Y v u elv e lu ê g o , lu êgo. A traerme l a s nuevas, A leg res, s i t e acoge. T r is t e s , s i t e deshecha. In th e 1812 and I 817 e d it io n s , l i n e 82 reads "cantinela" ra th er than " c a n tilen a " ; th e change, by w hatever hand, may have been made to avoid th e unfavorable connotation o f " ca n tin ela ," th a t i s , th e tiresom e carp­ in g on one s u b je c t.

Given th e b a s ic

sameness o f FrayD ieg o 's

lo v e

p o e tr y , and the f a c t th a t s e v e r a l o f h is lo v e ly r ic s are s u b t it le d "Cancion," the v a r ia n t "cantilena" i s c le a r ly the p referred reading; i t means song or b a lla d and i t shuns the su ggestion o f monotony

Ih8 i n ç ) l ic it in " c a n tin e la .” Another in t e r e s t in g change occurs e a r lie r in the poem, in li n e 15:

th e BAE read in g i s "Yacia en bian co le c h o ” ; th e I 8 l2 and I 817

e d itio n s read "blando lech o ."

This change i s s ig n if ic a n t because i t

in v o lv e s the r e la tio n s h ip o f Pray Diego to the women mentioned in h is poems.

In th e e a r lie r e d it io n s , both lin e s 15 and 19 read "blando

le c h o ” ; l in e 15 was consequently changed fo r th e BAE e d itio n to read " b ia n co ,” presumably to introduce th e elem ent o f pureness th a t i s t r a d it io n a lly a s so c ia te d with th e c o lo r w h ite.

"Blando” i s p a te n tly

u n d esirab le sin c e i t conveys th e connotation o f sen su al comfort and volu p tu ou sn ess.

Once th is su g g estio n o f s e n s u a lity was d is p e lle d in

l i n e 1 5 , lin e 19, "En blando le c h o e sta b a ," could remain as o r ig in a lly w r itte n .

Should any doubt remain, however, th e im pression o f pureness

i s r e in fo r c e d by l i n e 31, " S a lta d el ca sto le ch o ," and by the term " d o n cella ” in l i n e 34. "A l a quemadura del dedo de F i lis " (p. 2 0 3 ).

I t has alread y

been noted th a t, in keeping w ith h is v o c a tio n . Fray Diego had frequent recou rse to dreams, v is io n s , and parables in h is poetry in order to make a p o in t; for, example, in th e eclogu e "D elio y M irta,” th e poet recounts the sto r y o f the l o s t lamb.

I t was a ls o noted th a t th e appeal

o f Fray D iego's parable la y in th e s im p lic it y o f i t s sto r y and the d ir e c tn e ss o f i t s language.

In "A l a quemadura d e l dedo de F i l i s , ”

F ray D iego a g a in r e s o r t s t o th e d e v ic e o f an i l l u s t r a t i v e s t o r y w ith in th e l a r g e r fram ew ork o f a poem.

I n th e c a s e o f t h i s poem to F i l i s ,

th e fram ew ork i s c o n tr iv e d and s e l f - c o n s c i o u s l y p r e c i o u s , w h ile th e n a r r a t i v e i t s e l f i s r a p i d an d a lm o s t c o n v e r s a t io n a l in i t s n a t u r a l n e s s .

149 T here a r e tw e n ty -o n e q u a t r a i n s composed o f s e v e n - s y l l a b l e l i n e s ; th e rhyme scheme th r o u g h o u t i s i n e_-a.

The f i r s t s i x a n d one h a l f

s ta n z a s and th e l a s t two form t h e en v elo p e f o r th e s t o r y w i t h i n t h e poem; th e f i r s t th r e e q u a t r a i n s a r e t y p i c a l o f th e p r é c i o s i t é o f th e en v e lo p e : E l c a s o que h a pasado C o n tig o , F i l i s b e l l a , P o r mas que t û l o a f ir m e s . No es f a c i l que l o c re a . 6Como p o d ra c r e e r s e Tan e x t r a S a q u im era C u al es e l que â l a n ie v e E l fu eg o a b r a s a y quema? P ues t a n t a re p u g n a n c ia E l caso r e p r é s e n t a De que â uno de t u s dedos La lla m a s e l e a t r e v a . . .

The poet i n s i s t s upon r e fe r r in g t o th e in c id en t o f F i l i s ’ burned fin g er as a caso; t h is he does f iv e tim e , then once more as " ta l cosa."

This

r e p e t itio n i s monotonous, and th e in s is te n c e upon one word, fo llo w ed by th e obvious play on c a so -c o s a , g iv e s th e framework o f th e poem a forced c lev e r n e ss.

By c o n tr a s t. Fray D iego's n a rra tiv e s k i l l i s e v i­

dent in h is sto r y about Cupid's fin g e r (lin e s 27-76): E s c u c h a , F i l i s m ia, E l caso que se c u e n ta D el h i jo de l a d io s a Que en P a fo y Gnido r e i n a . D ejando â un la d o e l a r c o . La a l j a b a y l a s s a e t a s , C ogiendo andaba f l o r e s Cupido e n u n a s e lv a . V ido u n a f r e s c a r o s a Que l a p r i s io n e s tr e c h a D el c a p u llo ro m p ia, E s p a rc ie n d o b e l l e z a s . C ortôla, y en su centre Vio una o f i c i o s a abeja. Que d u lce m iel lib a b a Y l a dorada cera.

150

Tomola por la s a la s EL nifio in ca u to , y e l l a El aguijon esgrim a Con ta n ta v io le n c ia , Que en uno de sus dedos Clavado se lo deja. Con e l dolor insano El tie r n o d io s se queja. Turbando con sus llo r o s Los c ie lo s y l a t ie r r a . Volando por lo s a ir e s Con voces la stim era s Fuë en busca de su madré; Y puesto en su p resen cia , Con tie r n o s puchericos Le cuenta su tr a g e d ia . Mas l a prudente d io sa , Entre tie r n a y risu en a . Le d ice: "Aprende, h ijo , A usar de mas clem encia Con lo s fla c o s m ortales. Que im perioso atorm entas. "Pues s i l a le v e punta De una mosca pequena Te causa ta n to dano. Que e l d olor t e enajena, "iQuê sen tirâ n l o s hombres Cuando de tu s s a e ta s , Del duro arco enviadas, Penetrados se vean?" Desde entonces Cupido En su dano escarm ienta, Y h iere mënos veces 0 con mênos fie r e z a . Fray D iego’ s purpose in recoun ting t h is sto r y to F i l i s i s to p o in t out th a t sh e , t o o , should be more m ercifu l:

i f Cupid's pricked fin g e r

t a u ^ t him t o b e more in d u lgen t toward th e v ictim s o f h is own arrows, F i l i s ’ burned fin g e r should teach her to be more in d u lg en t toward th o se whom she burns and torments w ith h er e y es.

B .iis i s th e moral o f

the s to r y , as the p oet points out in the l a s t two stan zas ( li n e s 778k): Asi t u , 6 mâs piadosa Ya desde hoy t e nos muestra A 7 Con lo s que de tus o jo s Abrasan y tormentan;

151

0 e l caso que ha pasado C ontigo, F i l i s b e lla , P o r mas que t u l o a f i r m e s . No es f â c i l que lo c r e a . Perhaps due to a m isp rin t, th e l a s t word o f l i n e 78 appears as "muestra” in th e BAE e d itio n .

And lin e s 79 and 80 sh ou ld read "Con lo s que tu s

dos o jo s / Abrasan y tormentan"; th e p r e p o sitio n "de" does not f i t in w ith the sen se o f the two l i n e s w hich, in any c a se , should rep eat l i n e s 21 and 22, as they do in th e I 8 l2 and I 817 e d itio n s . This b r i e f sto ry about Cupid’ s fin g e r i s provocative and f u l l o f in t e r e s t fo r a number o f r ea so n s.

As b e f i t s a sto ry dealin g w ith

a c h ild , even a g o d -ch ild , th ere i s present here an element o f ten d er­ n ess and v u ln e r a b ility th a t appeals to the p r o te c tiv e in s t in c t o f th e a d u lt.

This elem ent is provided by the ingenuousness o f the c h ild who,

i gnorant - o f th e-danger, p ick s ’up-a-beer-in’ it s 'b a r e hands; by th e use o f such phrases as " el nino in c a u to ," "el d o lo r insano," " el tie r n o d io s ," "sus llo r o s ," "voces la stim e r a s," "en busca de su madré," " tier n o s p u ch ericos," and "su tr a g e d ia ."

To a l l t h i s , the poet adds

’uhe c h a r a c te r iz a tio n o f th e c h ild 's mother more as a benevolent parent than as an awesome d e ity — "Entre tie r n a y r isu en a ."

Furthermore, Venus

i s shown as in d u lgen t and m e r cifu l toward m ortals; t h is view does not accord w ith the tr a d it io n a l view o f Venus as a jea lo u s and v en g efu l god d ess.

Indeed, so benevolent and sm ilin g i s the goddess o f lo v e in

•ttiis parable th a t a p a r a lle l could be drawn between th e r o le o f Venus as an in t e r c e s s o r fo r manliind and th e C a th o lic view o f the V irgin Mary. Such a p a r a lle l could even be extended to th e wounded son and to the b lood th a t he shed.

This i s not to say th a t Fray D iego's in te n tio n

was to draw such a p a r a lle l, but rath er t h a t , to the C h ristia n , and

152

p a r tic u la r ly to th e C ath olic s e n s i b i l i t y , such a p a r a lle l might e a s i l y su ggest i t s e l f .

The p o e t's exp lan ation o f how Cupid came to be more

m ercifu l toward h is m ortal v ictim s seems a lso to have a fo lk lo r ic elem ent; th a t i s , i t in g e n io u sly e x p la in s a m ysterious phenomenon in the same way th a t fo lk t a l e s ex p la in in sim ple terms th e natural and supernatural, w orlds.

The C la s s ic a l myth and the p o e t's reworking o f

th a t myth both have th e same purpose:

to g iv e an understandable and

human b a s is t o one o f lit e r a t u r e ' s most abiding concerns—the r o le o f lo v e in men's l i v e s . V.

S a t ir ic p oetry.

"El digamos, 6 e l amor, de Mireo" (p. 2 0 2 ). In a note accompanyi' in g th is poem, Cueto comments upon th e nature o f th e s e lin e s from Fray Diego to hirs ' fr ie n d and c o - r e l i g i o n i s t , Fray Miguel de Miras in S e v i lle : F sta es una de esas com posiciones de p o esia intim a y fa m ilia r que pierden e l in h eres y una p arte de su d o n a ire, pasada l a oportunidad. E stâ d ir ig id a a l padre Miras, â qui en Fray Diego Gonzalez e s c r ib ia c a s i siempre en tono chancero. La publicamos ahora, sig u ie n d o , en p a r te , e l m anuscrite que enviô e l mismo Fray Diego â J o v e lla n o s .35 The occasion fo r the poem i s Fray Miguel de Miras' f a l l i n g in lo v e w ith a S e v illa n lad y who i s known in th e poem by the p a sto r a l name o f Trudina.

Father Miras had apparently s c o ffe d a t lo v e as being unworthy

o f a reasonable man and had laughed a t Melêndez Valdes and Fray Diego fo r th e ir in fa tu a tio n w ith C iparis and M irta, r e s p e c tiv e ly .

I t should

be remembered th a t Father Miras was a c o n te r tu lia n o o f the m agistrate Jovellan os a t th e t e r t u l i a o f Don Pablo de O lavide in S e v ille and pre­ sumably was aware o f J o v e lla n o s' m isg iv in g s about th e ab solu te v a lu e

Cueto, op. c i t . , p. 202, n. 1.

153

____

o f amorous p oetry; Father Miras may even have agreed w ith Jovellan os and communicated h is fe e lin g s to th e Parnaso in Salamanca.

At any

r a t e , in "El digamos," Fray Diego s a t i r i z e s Father Miras fo r having been so rash as to scorn lo v e .

As noted by Cueto, t h is i s l i g h t v e r s e ,

w ith no apparent p reten sio n s a t p ro fu n d ity ; y e t , th e se f e s t iv e l in e s can s t i l l be enjoyed, fo r the most p a r t, because o f th e p o e t's de­ l i g h t a t th e d isco m fitu re o f th e pedant. Father Miras' p a sto r a l name, M ireo, s e t s th e p a ttern fo r the rhyme scheme o f a l l tw enty-four q u a tra in s, in which th e even lin e s rhyme in £ -£ .

The le n g th o f the l i n e s i s seven s y lla b l e s .

As was the

ca se w ith "A l a quemadura del de do de F i l i s , " the f i r s t and l a s t p arts o f t h i s poem are o f l e s s e r in t e r e s t than the middle p a r t, which con­ t a in s th e anecdote o f Cupid's revenge upon Mireo.

C ueto's e d itin g may

account fo r th e numerous v a r ia tio n s between th e BAE and th e I 8 l2 and 1817 e d it io n s .

In th e l a t t e r , th e poem i s e n t i t l e d "El digamos de

Mireo"; th e r e are no i t a l i c s as in the BAE, where th e word digamos i s i t a l i c i z e d every tim e th a t i t occurs in th e poem. r iv e s from th e f a c t

The t i t l e de­

th a t "digamos" occurs f i f t e e n tim es in th e t e x t ,

e ig h t tim es as th e beginn ing o f a li n e ; fo r exançde, th e f i r s t two qu atrain s read: Digamos, blanda Musa, Digamos de M ireo, Digamos e l fr a c a so , Digamos e l su c eso . De Mireo y Cupido Digamos y cantemos, Del uno l a venganza, D el otro e l escarm iento. In th e n e x t two q u a tr a in s, the p oet in v it e s th e Muse to jo in him in c e le b r a tin g th e triumph o f Cupid over Mireo,

154 F ilo s o fo sev e r e, Que amar juzgo d e lit o Ajeno de hombre cuerdo; . . . aquel que motejaba Con r i s a e l embeleso De B a tilo en C ip â ris,Y en M irta e l de su D elio . Line 15 reads "De B a t ilo en Filena" in the l8 l2 and I 8 l7 e d itio n s ; o f th e two p a sto r a l names, F ilen a and C ip a ris, the l a t t e r i s the name more o ften a s so c ia te d w ith M elendez, both in the correspondence between the Salamancan p oets and in Melendez’ own poems. From lin e l 8 on, the numbering d if f e r s between e d it io n s , sin ce lin e s 1 8 , 1 9 , and 20 ( BAE) do n o t appear in the I 8 l2 and I 817 e d itio n s . Lines 17 through 21 (BAE) read: Digamos c6mo un d ia E l d io s a la d o y t i e r n o Tomo j u s t a v en g an za D e l estoirco" M ire o , Que en l a o r i l i a d el B e tis . . .

In the 1812 and I 817 e d it io n s , lin e s 17-19 read: Digamos c6mo un dia P en sa tiy o y severo Por l a o r i l l a d el B é tis . . . The poet recounts th a t Mireo, w h ile r e f le c t in g p h ilo s o p h ic a lly upon n ature’ s s e c r e t s , meets Trudina on th e shores o f th e Guadalquivir. Trudina i s fo r th e p h ilo so p h e r 's contem plation "materia mâs noble" in th e 1812 and I 817 e d it io n s ; in the BAE, she i s "materia hermosa" ( li n e 2 7 )'

An apparent m isp rin t in th e next l i n e i s co rrected as th e BAE

p r in ts "su empezado in ten to " fo r "tu empezado in te n to ," which would make ’’tu ’’ r e fe r t o "blanda Musa" and d is t o r t the sen se o f th e passage. The referen ce i s to M ireo’ s in te n tio n o f d isco v erin g n a tu r e ’s hidden causes and e f f e c t s .

As analogous to M ireo's f a t e , th e p o et c it e s the

155 case o f another sa g e, "Observador protervo," vho sc a le d Mount Vesuvius in order to understand i t s m ysteries and fin d th e cause o f i t s flam ing eru ption s ( li n e s 38-^0): Y averiguar queriendo Del incendio l a causa, P ereci6 en e l incendio . . .

In a l i k e manner, Mireo, contemplating the p e r fe c tio n s o f the peer­ l e s s Trudina ( lin e s 47 -^ 8 ), Par6se a ver l a causa Del h e llo fenomeno. T h is, fo r M ireo, i s a mortal erro r, for here Cupid e x a cts h is revenge from th e s t o i c p h ilosop h er ( lin e s 53-68); Le disparo una fle c h a , Y atravesado e l pecho. Sobre l a verde grama Cay6 e l t r i s t e Mireo. Y e l d io s , no b ien vengado, Tomo un so lo ca b ello De l a madeja hermosa De l a p astora, y p resto Le at6 de p ie s y manos, Y con b u rla y desprecio Se lo entreg6 â Trudina Como raanso cordero. Y dando carcajadas, V olviose e l nino a l c ie lo A consolar la pena Del corazon materno. There i s a minor disagreement between e d itio n s in th e p r in tin g o f the l a s t l in e :

th e I 8 l2 and I 8 l7 e d itio n s read "Del cuidado materno."

A

more s ig n if ic a n t d iffe r e n c e e x is t s in lin e s 75 and j6 o f the BAE: se e in g the h a p less Mireo in the bonds o f lo v e , th e shepherds and shep­ h erd esses come out o f th e fo r e st to celeb ra te in dance and song th is new triumph o f Cupid ( lin e s 73-76): E lla s forman m il corros, De la s manos asiendo.

156 Y a ir o s amente danzan, Hollande e l prado amène. The l a s t two lin e s in th e I 8 l2 and l 8 l 7 e d itio n s read: Y ayrosament e mueven Los b ien ta lla d o s cuerpos. This change between e d itio n s s h i f t s the emphasis from the "bien ta lla d o s cuerpos" o f th e shepherdesses to the "prado ameno"; the former reading would seem to be too d ir e c t a r efer en ce to the body. The shepherds, for t h e ir p a r t, s in g "Muchos d is c r e te s v erso s," which convey th e moral o f th e sto r y about Cupid and Mireo ( l i n e s 81-82, BAE) : Hadie e l amor rehuya, Ni b u rle de su imperio . . . The 1812 and I 8 I 7 e d itio n s warn A Nadie de amor se b u r le , Ni rehuya su imperio . . .

Without r efer en ce t o a l l e d itio n s o f Fray D ieg o 's poetry and to the m anuscripts, i t cannot be s a id to whom a l l th e s e changes are due.

In h is accompanying n o te, Cueto a d v ises th a t he i s fo llo w in g

the p o e t's manuscript on ly in 'p a r t.

Father Fernandez de Rojas may have

made some changes in order th a t he miglit p resen t Fray D iego's works "pu rificadas y n e ta s," as he sa y s.

Whatever the c a s e , and apart from

th e argument o f th e poem, "El digamos" p resen ts a p a r tic u la r problem in so fa r as e s t a b lis h in g a t e x t i s concerned.

A ll th e changes between

e d it io n s , by whatever hand, make t h is poem in t e r e s t in g both as a te x tu a l problem and as an example o f Fray D ieg o 's s a t i r i c a l s t y l e . "A un orador contrahecho, zazoso y s a tir ic o " (p. I 9 6 ).

Before

con sid erin g Fray D ie g o 's sca th in g s a t ir e on an anonymous preacher, i t would be w e ll t o ask whether Fray Diego was q u a lifie d to censure so

157

s e v e r e ly a n o th e r's o r a to r ic a l s t y le .

The q u estio n might also he asked

whether Fray Diego looked upon th e o b je c t o f h is s a t ir e as a r i v a l in the f i e l d o f r e lig io u s oratory; though t h i s q u estio n cannot now be answered w ith any c e r ta in ty , i t can be assumed on the b a s is o f con­ temporary testim on y th a t Fray Diego was fr e e o f p e tt in e s s and was in ­ capable o f envious sla n d er.

As to h is q u a lif ic a t io n s , we have th e

testim ony o f Meléndez Valdes th a t D elio was an eloquent and in s p ir in g o ra to r.

In a l e t t e r to J o v e lla n o s, dated a t S egovia, Ju ly 11, 1778,

Meléndez w r ite s : N uestro dulce D e lio predic6 en d ia s pasados un sermon a l Sacramento, cosa de su in g e n io , muy d e lic a d a y muy devota; pero no ha habido forma de poderselo sa ca r para l a prensa, ni l e s ruegos de sus amigos, n i la s s û p lic a s de lo s mayordomos h an podido nada con ê l: yo l e compuse con e s t e mptivo e sa cancion, que s 6 lo t ie n e bueno e l a fe c to que l a d ic to . F ollow ing, a r e . ex cerp ts from the-o.de-th a t. Melendez composed in Fray D iego's honor, "por su e x c e le n te y d evotîsim o sermon d e l Sacramento": . . . tu hablar p e r eg r in e , D e lio , con fervoroso y san to in ten to Uos lle v o h a sta e l d iv in o Amor, que e l Sacramento Humilia â jamas v is t o abatim ientoJ E l v e lo d e s c o r r iste Que n u estra fla c a v i s t a d e te n ia , Y a l ojo nos p u siste Lo que l a f e s e n tia . Mas que e l danado corazon no v ia . y ora tu fervorosa Voz n u estro t i b i o pecho la stim a r a ; Ora, mâs amorosa. Su fla q u e za a ien ta ra , Y en pos de s i â l a g lo r ia nos guiara; lOh! de contino suene Tu acento en mis orej a s , D elio amado. Que â par que me enajene

^^Meléndez V aldês, "Cartas in ê d ita s de Melendez Valdes â J o v e lla n o s," BAE 63, pp. 81-82.

158 Rompa e l yugo pesado Do aun gime e s t e mi pecho, mal su grade. Tapare â la s liv ia n a s Palabras de l o s hombres e l o id o , Y â sus promesas vanas, Por poder desprendido Seguir tu s h u e lla s , de tu ardor movido. * Father Fernandez de R ojas, in h is biography o f Fray D iego, mentions both D e lio 's sermon on th e Sacrament and Melendez' ode in honor o f th a t sermon: Tanto en l a cated ra como en e l p lilp ito era oido con g u s to , y muchas veces con adm iracion. En Salamanca predico un sermon d e l Santisim o Sacramento con t a l uncion y e lo cu en cia , que, arrebatado e l inm ortal B a t ilo , uno de lo s o y e n te s, de su entusiasm o, e s c r ib io a q u ella oda que comienza: Tal de l a boca de ■ oro, e t c . ; una de la s mejores de e s t e grande in g en io , que â un mismo tiempo hace honor a l orador y a l p oeta. And Cueto c it e s a l e t t e r from Fray Diego to J o v ella n o s as evidence o f Fray D iego's care in conçosing h is sermon and

h is modesty w ith regard

t o i t s su ccess : De e s t e elo cu en te sermon, que lle n 6 de fervoroso entusiasm o â sus oyentes y causo gran sen sa cio n en Salamanca, dio n o t ic ia Fray Diego Gonzalez â J o v ella n o s en e sto s lla n o s y modestos term inos, que ponen de m a n ifie sto e l c o n flic to de un alma humilde y tim orata ante arduos deberes y graves empenos : "Me he h a lla d o en e l mayor apuro para disponer un sermon, que es aqui de mucho empeno, y lo ha sid e mucho m£s para m i, por haber pasado algunos anos s in p red ica r, y haber, de cons ig u ie n te , perdido e l numen de hacer sermones, que en o tro s tiempos eran toda mi d e l i c i a . . . Ayer, d ia 19, l e eche de mi, a aun no me he s a tis fe c h o de r e sp ir a r de l a opresion en que me puso l a d if ic u lt a d que h a lle en su composicion . . . "^9 I t i s c le a r , th en , th a t Fray Diego looked upon preaching as a grave r e s p o n s ib ilit y and th a t he took pains in the com position o f h is sermons. SÎMelêndez V aldes, P o e s ia s , BAE 6 3 , pp. 2h8-2k9. ^^Juan Fernandez de R ojas, " N o ticia s d e l M. Gonzalez," n . p. ^^Cueto, op. c i t . , p. 177s n . 3.

159 B ecau se M eléndez i n d i c a t e s in h i s ode t h a t F ra y D iego v a s an i n s p i r i n g s p e a k e r , h o th as r e g a r d s d o c t r i n e an d o r a t o r i c a l s t y l e , D e l i o 's s a t i r e o n t h e l i s p i n g and deform ed p r e a c h e r can b e s t be a p p r e c ia te d i f i t i s com pared to M elendez’ p r a i s e an d i f i t i s a ls o c o n s id e r e d on th e b a s i s o f w hat we a lr e a d y know a b o u t F ray D iego. B o t i j o con b o n e te c l e r i c a l , Que v i e r t e s l a d o c t r i n a â b o r b o ll o n , F a l t o de v o z , de a f e c t o s , de em o cio n ; L le n o de f u r i a , a r d o r y o d io f a t a l ; La c o l e r a y d e sp iq u e p o r i g u a l D iv id e n en dos p a r t e s t u serm o n . Que, p o r to s c o , p u n z a n te y s i n s a z o n , D e b ie r a s p r e d ic a r s e lo â un z a r z a l . ÎQué p re n d a s de o ra d o r en t î s e ven? Z azoso a c e n to , g e s to p a s t o r i l , E l m é ta l de l a voz c u a l de s a r t e n , Tono u n ifo rm e c u a l de t a m b o r i l . P a r a o r a d o r t e f a i t a n mas de c i e n ; P a r a a r a d o r t e so b ra n mas de m il. D&M-o’ s - o r a t o r i s - d e fo -rm e d j-p o s sib ly hum pbacked, l i s p i n g , and s a t i r i c a l o r s a r c a s t i c ; he lo o k s l i k e an e a r th e n ju g cap p ed b y a p r i e s t ' s b o n n e t. F ray D ieg o , by c o n t r a s t , was le a n — e m a c ia te d , e v e n ; h i s p o r t r a i t makes him lo o k a s c e t i c .

D e li o 's p r e a c h e r g u sh e s d o c t r i n e ; a c c o rd in g

t o F a th e r F e rn â n d e z de R o ja s , F ray Diego t a u g h t b y exam ple r a t h e r th a n by r e c r i m i n a t i o n .

M elendez i n d i c a t e s t h a t F ra y D iego v a r i e d th e to n e

o f h i s v o ic e to f i t t h e t e n o r o f h is w o rd s; h i s v o ic e i s " o r a f e r v o r o s a . . . o r a , mas am o ro sa."

On th e o t h e r h a n d , D e l i o 's p r e a c h e r

h as a p o o r v o ic e , a m e t a l l i c m onotone, and a l i s p a c e n to " ) .

( a s in "Z azoso

T hese do n o t c o n s t i t u t e th e p r e a c h e r 's w o r s t f a u l t s , ho w ev er;

w orse th a n h i s v o ic e and manner i s th e s p i t e f u l r a n c o r o f h i s w ords. W hile D e lio may amuse h im s e lf by s a t i r i z i n g t h e anonymous p r e a c h e r 's sh ap e and v o ic e , h e i s n o t amused by th e p r e a c h e r 's la c k o f c h a r i t y . He s u g g e s ts t h a t t h e p r e a c h e r i s i n s p i r e d as much b y p e r s o n a l p iq u e

i6o as by d iv in e r e v e la tio n .

In t h is connection, i t should be noted th at

where th e BAE p r in ts "Falto de v o z, de a fe c to s , de emocion," the l8 l2 and I 8IT e d itio n s p r in t "Falto . . . de mocion ," which could mean la c k in g in movement and g estu res in th e p u lp it or la c k in g in d iv in e in s p ir a tio n . L ik e th e p r e a c h e r 's serm o n . F ray D ie g o 's s o n n e t i s d iv id e d i n two p a r t s :

t h a t p a r t d e a lin g m e re ly w ith th e u n f o r tu n a te p r e a c h e r 's

p h y s ic a l a p p e a ra n c e and t h a t p a r t d e a lin g w ith th e p r e a c h e r 's t o t a l la c k o f v o c a t io n .

T hus, w h ile t h i s s o n n e t may amuse b y i t s in g e n io u s

i n v e c t i v e , i t i s a t b o tto m a s e r i o u s condem nation o f c h a r l a ta n s in th e p u l p i t .

In t h i s r e s p e c t , i t h a s a th e m a tic c o n n e c tio n w ith a n o th e r

e i g h t e e n t h - c e n t u r y w ork, a ls o by a c l e r i c . F ray G erundio de Campazas, by I s la .

" C e n s u ra de unos s o n e to s a c r o s t i c o s " '( p . I 9 6 ) .

Among th e

p o e t a s t e r s o f F ray D ie g o 's tim e , t h e r e w ere th o s e w hose s t o c k - i n - t r a d e w as, as s e e n e a r l i e r , " s o n e to s r e tr o g r a d o s y con e c o , de rim a en cad e n ad a y e s d r û j u l a , a c r o s t i c o s y p e n t a c r o s t i c o s , l a b e r i n t o s y e n s a la d a s ."

L u zên , i n h i s P o e t i c a , h ad r a i l e d a g a in s t v e r s i f i e r s who

th u s d i s t o r t e d th e aims o f p o e t r y .

F ray D iego, to o , condemns th o s e

s o n n e te e r s who r e l y on v i s u a l n o v e lty and e x o t ic rhyme schemes in o r d e r t o a c h ie v e t h e i r e f f e c t ; t o r i d i c u l e them he u s e s , n o t a n o th e r s o n n e t, b u t an o c ta v a r e a l , t h a t i s , a s ta n z a o f e i g h t e l e v e n - s y l l a b l e l i n e s rh y m in g ABABABCC. E sos v e rs o s que v es ta n adornados No son e f e c t o , M ir ta , de g ran c i e n c ia ; Por p in to r , no p o e ta , son forraados. Mas que o b ra de t a l e n t o , de p a c ie n c ia ; Y aunque, h a cia v a ria s partes ordenados, Siem pre t i e n e n s u c i e r t a i n t e l i g e n c i a , Y form an con su s l e t r a s m il ju g u e te s , No son s o n e to s , s in o s o n s o n e te s .

l6 l W hile h e co n ced es t h a t t h e s e a c r o s t i c s o n n e ts h a v e " c i e r t a i n t e l i ­ g e n c ia j " F ray D iego d is m is s e s them as la c k in g i n c o n t e n t.

T hese

s o n n e ts a r e , i n a w o rd , " a d o rn a d o s ," more th e e f f e c t o f p a t i e n c e th a n o f ta le n t.

As i n h i s s a t i r e on th e l i s p i n g p r e a c h e r . F ray D iego con­

c lu d e s w ith a p la y on w ords ;

i t i s a s th o u g h , i n h i s l a s t l i n e , he

w ere b o rro w in g a p ag e from th o s e whom he w ish e s t o s a t i r i z e .

I n th e

p re v io u s poem, h e p la y e d on th e w ords o r a d o r - a r a d o r ; i n t h i s poem, he p la y s on th e w ords s o n e to s - s o n s o n e te s .

F ray D ie g o 's poem i s i t s e l f a

j u g u e t e , b u t th e c r i t i c i s m h e makes o f a c r o s t i c s o n n e ts i s n o n e th e le s s v a lid .

"A u n a p i n t u r a con f u s a de l a g l o r i a " ( p . I 9 6 ) .

A lth o u g h th e r e

i s no i n d i c a t i o n t h a t F ray Diego h im s e lf p a i n t e d , p a i n t i n g was one o f h i s m a jo r i n t e r e s t s , as w i l l b e seen from v a r io u s p o e t ic s ta te m e n ts b y F ra y Diego on t h e f i n e a r t s .

I n th e c a s e o f t h i s o c ta v a r e a l , th e

p o e t c r i t i c i z e s t h e la c k o f o r d e r an d fo c u s i n a p a i n t i n g o f a n g e ls amid th e s p le n d o r s o f h e a v e n .

The p o e t makes no

c r i t i c i s m o f th e

p a i n t i n g on r e l i g i o u s g ro u n d s , b u t r a t h e r on p u r e ly e s t h e t i c g ro u n d s , s in c e t h e g e n e r a l c o n fu s io n o f th e p a i n t i n g o f f e n d s h i s eye an d does n o t in any way i n s p i r e r e l i g i o u s c o n te m p la tio n . Una r a r a v i s i o n , que r e p r e s e n t s Un c o n ju n to de v a r i a s c o n f u s io n e s . En c o lo r de a z a f ra n y de p im ie n t a , D onde, â c o s t a de muchas a t e n c io n e s , S 6 lo n o ta l a v i s t a mas a t e n t a M anos, p a t a s , c a b e z a s , p ie s y a l o n e s , i P o r que m o tiv o se h a de ll a m a r g l o r i a ? iNo e r a m e jo r ll a m a r l a p e p i t o r i a ? The poem b e g in s i n a s tr a i g h tf o r w a r d m anner:

"Una r a r a v i s i o n . . . " ;

su ch a b e g in n in g w ould n o t b e am iss i n a s e r i o u s poem on a s e r i o u s

162 p a in tin g .

But th e p a in tin g , by i t s co n fu sio n , f a i l s as a se r io u s work;

a c co r d in g ly , th e p o et moves from apparent se r io u sn e ss to r id ic u le . He mocks th e p a in tin g fo r i t s c o n tr a d ic tio n , "Un conjunto de . . . con­ fu sio n e s ," and not j u s t one con fu sion , but s e v e r a l. c o lo rs are b lack and a garish sa ffr o n .

The dominant

And ra th er than a n g e ls, the

a tte n tiv e view er s e e s only hands, f e e t , h ead s, and naked w ings.

The

terms pataa and a lo n e s (the plucked w ings o f f o w ls ) , preclude any sober in te r p r e ta tio n o f th e p a in tin g as a stud y o f a n g els and provide the p oet w ith th e b a s is fo r h is f in a l tau nt:

th a t th e p a in tin g should be

c a lle d a p e p it o r ia , meaning both a medley o f d iv e r se o b je c ts and a chicken f r ic a s s e e . "A una sen ora que se quejaba de que h u b iesen tra ta d o â otra a n te s . qua &..ella" (p . 201).

These décimas are an apparent attempt to

m o llify a la d y who i s s u ffe r in g from a f i t o f pique because she has been sp u m ed in fa v o r o f another; th ey are a ls o th e p o e t's ingenious attempt t o e x t r ic a t e h im se lf from th e p o s s ib le consequences o f the la d y 's je a lo u s w rath. S i un caminante penâra De sed , y junto a l camino, Por acaso p ereg rin o , Una f u e n t e c illa h a lla r a , Y no sien do l a mas c la ra E l agua, b eb iera aq u i, Aunque no le j o s de a l i i Otra mejor agua h u b iera , iExtranaras que b eb iera? Pues e s to me pasa a mi. S i un i n f e l i z naufragara, Y â una ta b la que en co n tra se. Gustoso l a mano ech a se, Y a s i l a vida sa lv a r a , iHubiera quien l o extran ara. Hi juzgara fr e n e s i Porque t a l vez por a l i i

163

Pasar un barco pudiera. Que a l puerto l e condujera? Pues e s to me pasa a mi. The poet su g g ests t o th e lad y th a t i f she was spurned in favor o f a l e s s e r r i v a l , i t was on ly because the t h ir s t y tr a v e le r , the unhappy shipw reck, as i t w ere, a v a ile d h im se lf o f whatever r e l i e f was imme­ d ia t e ly a t hand, n o t knowing th a t by so doing he f o r f e it e d a g reater p r iz e .

Such r a tio n a liz a t io n i s meant to appease and f l a t t e r ;

the

lad y i s , o f cou rse, "Otra mejor agua" and th e sh ip th a t could have con­ ducted the shipwrecked s a ilo r to a sa fe haven.

For her p a r t, th e la d y

may derive some comfort from the knowledge th a t the s a ilo r , though saved , i s con sciou s now o f h is l o s t op p ortu n ity.

Thus consoled , and

h er p rid e sooth ed , th e lad y may nchv' break her s ile n c e and match the p o e t's in g e n u ity , i f she can.

The poet co n clu d es,

Ya os he dicho lo b a sta n te En comparaciones dos : Hablad, Senora, por D ios; Que e se s ile n c io me abrasa. Eso es l o que â mi me pasa; Decid l o que os pasa a v o s.

VI.

On th e a r ts . "A la s n ob les a r tes" (pp. I 85- I 86 ) .

composed o f ten sta n z a s:

S tr u c tu r a lly , t h is ode i s

th e f i r s t th ree are d irected to v ir t u e , used

here to mean in s p ir a tio n and lo v e o f b ea u ty , rather than v ir tu e in th e moral sen se; then fo llo w two stanzas each t o th e noble a rts o f p a in tin g , s c u lp tu r e , and a r c h ite c tu r e ; in th e f in a l s ta n z a , th e poet addresses h is own p o e tic im p u lse.

Nine stanzas c o n s is t o f th ir te e n sev en - and

e le v e n - s y lla b le l i n e s ; the rhyme scheme, d iv id ed here fo r purposes o f i l l u s t r a t i o n , i s abC abCc deeP fF .

The f i f t h stanza is im perfect in

161» th a t one l i n e i s apparently m issin g ; in t h i s sta n z a , th e rhyme scheme i s abC abCc de-D fF . The tone o f "A la s nob les a r t es" i s app reciably d iffe r e n t from th a t o f th e preceding amorous and s a t i r i c a l com positions; in tone i t is more l i k e Fray D iego's c iv ic poetry and shares w ith i t a p a t r io t ic concern fo r n a tio n a l p rogress.

In the f i r s t sta n z a , the poet assures

v ir tu e th a t p ast f o l l y and in d olen ce are now fo r g o tte n ( lin e s 1 -1 3 ): Levanta ya d el suelo E l r o stro lagrim oso, V irtud, h ij a d el c ie lo , don d iv in o ; Y recobra e l consuelo, Que ciego y a lev o so Te rob6 e l y a pasado d e sa tin o ; Que e l aspero camino Por do sigu e â l a g lo r ia , Y ê tu morada g u ia , Emprenden â p o r f i a Mil j6 v en es, borrando l a memoria D ei v i l o c io in d o le n te En que y a c ie r a l a espaâola gen te. R eferences w ith in th e poem are vague at b e s t:

to what time in th e p a s t,

fo r exam ple, does " el ya pasado desatino" r e f e r , to th e eig h teen th century or t o the preceding century?

And t o what indolence i s the

poet r e fe r r in g to in th e phrase " v il ocio in d olen te" ?

The same

gen eral ton e o f condemnation w ith resp ect t o a former time continues in th e second stan za; h ere, however, the m o r a lis tic tone plus the con­ v o lu ted syn tax render th e sen se o f the sta n z a in a c c e s s ib le on f i r s t jjeading.

Lines l4 - 2 6 , paraphrased, read as fo llo w s:

E l ânimo, aguijado mas de tu rara b e lle z a (tü = v irtu d ) que d el prom etido r ic o te s o r o , sacude l a pereza y condena e l s ig lo corrompido, que e l honor de tu s artes ha manchado con gusto depravado, y redarguye l o s pas ados e rr o r es con m il h e llo s prim ores, que e l usurpado honor las r e s titu y e ( la s = l e s , a la s a r t e s ) , y o fr e ce a lo s umbredes de t u templo m il obras in m ortales. B a s ic a lly , th e poet co n tra sts here the "pasado desatino" and the

165 promise i n ç l i c i t in th e works o f the "mil jovenes" in th e f i r s t stan za; th e terms o f th e c o n tr a st are "pereza" (corresponding to th e " v il o c io in d olen te" o f th e f i r s t s ta n z a ), " e l s ig lo corrompido," "manchado," "gusto depravado," "pasados e rr o r e s," and "usurpado honor" versus "rara b e lle z a ," " rico te so r o ," " el honor de tu s a r te s ," "mil h e llo s prim ores," and "mil obras in m ortales."

The works o f th ese young

a r t i s t s , con tin u es th e p o e t, are lik e the sm all grain th a t sc a r c e ly f i l l s th e beak o f a sm all b ir d , y et grows to a great h e ig h t and u l t i ­ m ately g iv e s s h e lt e r to many b ir d s .

In a l i k e manner ( li n e s 3^-39) >

. . . l a s d is e n a d a s O bras menudamente P o r l a a s o c ia d a g e n te En b r e v e c a r t a t i e n e n e n c e r ra d a s G ra n d e z a s, cuya suma 1Î0 l a alcan za l a lengua n i l a pluma. The q u e s tio n s u g g e s te d b y t h i s p a s s a g e in v o lv e s th e i d e n t i t y o f " l a a s o c ia d a g e n t e " ; p e rh a p s t h e r e f e r e n c e i s t o groups o f young a r t i s t s a s s o c i a t e d by a l i k e e s t h e t i c c r e e d , th e y o u n g er members o f th e S a la ­ mancan g ro u p , f o r ex am p le, o r t o o t h e r g ro u p s m odeled on th e Academ ia d e l Buen G usto o f e a r l i e r i n th e c e n tu r y .

Whatever th e c a se , th e poet s h i f t s emphasis abruptly from "las disenadas obras" to a gen era l con sid eration o f the noble a r ts .

Fray

D iego's sta n za s on p a in tin g betray a view o f art th at i s based, as w i l l be seen l a t e r , on f a ls e l o g ic a l premises and on p h y sic a l im p ossib i­ litie s .

The cru x o f th e dilemma i s in Fray D iego's view o f a rt as a

f a it h f u l and e x a c t im ita tio n o f n atu re.

Lines 40-52 read:

De l a m adre n a t u r a Los s e r e s desmayados A mas su b lim e e s ta d o lo s l e v a n t a s , lOh d i v i n a P in tu ra '. Y a l lie n z o tra s la d a d o s .

166

In stru y es l a razon, l a v i s t a encantas Y a s i e l a i r e s u p la n ta s De l a v e rd a d que i m i t a s , Que con lo s c o lo r idos Por su mano o fr e c id o s , Tambien e l se r parece que l a q u ita s , / l a = 1 ^ Tanto, que s i a d v ir tie r a La usurpacion, c o lo r e s no t e d ie r a . B asic to the p o e t's id e a o f p a in tin g i s th a t n a tu ra l o b j e c ts , wan and l u s t r e l e s s , are e le v a te d to a more sublim e s t a t e , th a t nature i s s u p p la n te d o r s u r p a s s e d , by p a i n t i n g .

i t s e l f , in s tr u c ts reason.

The p a i n t i n g , r a t h e r th a n n a tu r e

The f in a l l i n e s o f t h is stan za express one

o f Fray D iego's fa v o r ite n otio n s:

th a t a r t can be so ex a ct a copy o f

nature th a t nature i t s e l f w i l l r ea c t t o i t as i f i t were r e a l.

Such

a n o tio n i s p a t e n t l y f a l s e — a p i c t u r e o f an o b j e c t i s n o t th e o b j e c t

and nature cannot r e a c t in any p e r so n ifie d manner to even the b e s t im ita tio n s — ,- but Fray Diego w i l l s t a t e - it r in oth er poems as w e ll.

In

the f i f t h stan za, th e p oet ela b o ra tes upon th e s u p e r io r ity o f a r t over nature ( lin e s 53-61*): En s u p e r fic ie l i s a . Sin que causèn aumento Colocar v a l le s , m ontes, s e lv a s , r io s , A d is ta n c ia p r é c is a , Accion s in movimiento; /1 8 1 2 , 181?: movimientos7 Fondes, l e j o s , a ltu r a s y v a c îo s ; La mar de s u s n a v io s S ep a ra r, y l a t i e r r a D el g lo b o r e f u l g e n t e , Y sombra que la lu z nunca d e s tie r r a , Jamas lo g r ô natura; iS olo e s don tuyo, c e l e s t i a l Pintura! An observation such as "sombra que l a lu z nunca d estierra " would seem t o be purely g ratu itou s :

i t i s obvious th a t th e n atu ral lig h t o f day

does not and ciannot e x i l e th e darkness o f n ig h t w ith in a p a in tin g . Yet t h is very id ea w i l l be th e b a s is o f another poem by Fray D iego.

167 And r e f e r e n c e s t o p r e c i s e d i s t a n c e s , b a c k g ro u n d s , an d p e r s p e c t i v e s i n d i c a t e t h a t th e p o e t 's eye i s fo c u s e d more on te c h n iq u e th a n on th e id e a o f t h e p a i n t i n g .

More i n c i s i v e i s th e l i n e "A ccio n s i n m o v im iento" i

h e r e , t h e p o e t ack n o w led g es th e s u s p e n s io n o f movement i n a r t ; t h a t , tho u g h t h e p a i n t i n g la c k s movement, i t i s n o t s t a t i c . S c u l p t u r e , t o o , h a s th e pow er t o su sp e n d and e t e r n i z e movement and t o i n f u s e m ute s to n e w ith l i f e

( l i n e s 72 - 86 ):

. . . I o h E sc u l t u r a l P o r t i so n co n serv ad o s Los h e r o e s c e le b ra d o s De l a v i r t u d , cuando l a m u e rte d u ra Los re d u c e â c e n i z a , Y t u d ie s tr o c in c e l lo s e te rn iz a . La n i n f a d e sd e n o sa . En le n o c o n v e r t id a , Huye n do d e l amor de A polo a r d i e n t e . Con a c c io n p r o d ig io s a R eco b ra n ueva v id a P o r l a e s c u L tu ra .„ y . mano. d i l i g e n t e , Que p o d ero saraen te Tambien anim a e l b r u t o Marmol con ig u a l a r t e . . . M an k in d 's h e r o e s o f v i r t u e (u se d now i n th e m o ral s e n s e ) a r e p r e s e r v e d , a s i t w e re , an d im m o r ta liz e d in s to n e ; such p r e s e r v a t i o n , h o w ev er, i s n o t s t a t i c , b u t r a t h e r " a c c io n p r o d ig io s a " t h a t g iv e s new l i f e t o t h e s u b je c t an d t o t h e s to n e i n which i t i s c a rv e d .

S c u l p t u r e , th e n , s h a r e s

w ith p a i n t i n g t h e a t t r i b u t e o f b e in g a b le f o r e v e r t o s u sp e n d and p e r ­ p e t u a te a c t i o n .

P e rh a p s m an's b e s t e x p r e s s io n o f t h i s phenomenon o f

su sp e n d e d a c t i o n i s Jo h n K e a ts ' "Ode on a G recia n U rn " ; t h e f o llo w in g l i n e s can b e a p p lie d t o F ra y D ie g o 's Daphne and A p o llo : B o ld L o v e r, n e v e r , n e v e r ’ c a n s t th o u k i s s . Though w in n in g n e a r th e g o a l—y e t do n o t g r i e v e ; She c a n n o t fa d e , th o u g h th o u h a s t n o t th y b l i s s . F o r e v e r w i l t th o u l o v e , an d she. be f a i r ! A r c h i t e c t u r e , th e l a s t o f t h e n o b le a r t s a d d r e s s e d i n t h i s o d e .

168

has more a s o c i a l and r e lig io u s fu n ctio n than a pu rely a r t i s t i c one; i t comes to th e a id o f man, who might otherw ise s t i l l be l i v i n g in p r im itiv e s h e l t e r s , e s t a b lis h e s c i t i e s , and s t a b il i z e s s o c i e t i e s ( lin e s 9 1 -1 0 3 ): Bajo e l olmo frondoso, 0 en l a caverna escu ra , 0 en choza hum ilde, e l hombre h a b ita r ia . Sin tu a u x ilio p ia d o so , iOh s a b ia Arq.ultectural TÛ l e e le v a s a l c i e l o , y l a v a c ia Region, que no p od ia, H uella con firm e p la n ta . Tu, fundando Cxudades, F ija s l a s so cie d a d es, Por t £ e l r e g io p a la c io se le v a n t a A dar cuidado a l c i e l o Y etern o peso a l carpetano su e lo . One l i n e i s n o t in harmony w ith t h i s straigh tforw ard a p p ra isa l o f a r c h ite c tu r e ; th a t l i n e i s "A dar cuidado a l c ie lo ," which in j e c t s in to t h is sta n z a a ja r r in g n o te o f exaggeration and p e r s o n ific a tio n .

In

a s y l l o g i s t i c p rocess th a t w i l l be seen again and again, th e poet su g g e sts th a t th e heavens th em selves w i l l r ea c t in fear to th e grand accom plishments o f a r t or a r t i f i c e , in t h is case a r c h ite c tu r e .

More

s u c c e s s fu l i s th e stan za d ed ica ted t o the r e lig io u s fu n ctio n o f a r c h ite c tu r e , which i s to u n ite f i n i t e man and an i n f i n i t e God in a d efin ed s e t t i n g ( lin e s 10^4-116): Al D ios que t ie r r a y c ie lo Mi e sp a c io im aginable Pueden c e n ir , en todo ilim ita d o , TÛ con devoto c e lo Y mano in f a t ig a b le E riges tem plo augu sto, do adorado Del p u eb lo, ante e l postrado, Recibe s a c r i f i c i o ; îAhî e l que en verdad l e im plora. Le encuentra â to d a hora En é l , ta n amoroso, tan p r o p ic io . L ib eral y clem en te, Como s i a l l i h a b ite r a solam ente.

169 F ray D ie g o 's r e l i g i o u s d e v o tio n im bues t h i s s ta n z a ; in d e e d , th e l a s t f i v e l i n e s a r e o r a t o r i c a l i n s t y l e an d s u g g e s t th e p o e t i c f e r v o r o f a serm on, a sermon b a s e d on lo v e o f a b e n e v o le n t God, r a t h e r th a n one b a s e d on " f u r i a , a r d o r y o d io f a t a l . . . c o l e r a y d e s p iq u e ," as was t h e serm on by D e l i o 's l i s p i n g an d deform ed p r e a c h e r . "A l a s n o b le s a r t e s " ends w ith a m o d est d is c la im e r w hich i s p a r t l y c o n v e n tio n a l and p a r t l y an i n d i c a t i o n o f th e p o e t 's d if f i d e n c e a s r e g a r d s h i s own p o e t i c pow ers ( l i n e s 117 - 1 2 9 ) : I n c a u ta l i r a m ia, S o lo â h u m ild es c a n ta r e s En l a m ârgen d e l form es a v e z a d a , 6Quien t e in f u n d io o s a d îa P a r a que en M anzanares G antes c o s a ta n n u ev a y e le v a d a ? lAyl d e j a l a em pezada L o c u ra ; que no es dado A tu s d é b i l e s p u n to s T r a t a r e s to s a s u n to s , Y m as, cuando h a s t a e l c i e l o lo s h a a lz a d o , Con v e r s o mâs d iv in o , De o t r a s l i r a s e l c a n to p e r e g r i n o . From h i s r e f e r e n c e to t h e R iv e r M an zan ares, i t can b e i n f e r r e d t h a t F ray D iego was i n M adrid a t th e tim e t h a t t h i s poem was w r i t t e n .

It

can a l s o b e i n f e r r e d t h a t t h i s poem was w r i t t e n a f t e r F ray D iego f e l t t h e s t i r r i n g s o f c o n s c ie n c e ab o u t h i s e a r l i e r amorous v e r s e .

Thus,

" c o s a t a n n u ev a y e le v a d a " a n d , from h i s own m odest p o i n t o f v iew , " l a em pezada lo c u r a " w ould r e f l e c t F ray D ie g o 's a tte m p t to d e d ic a te h i s so n g t o th e l o f t y s u b j e c t s recommended t o him by J o v e lla n o s .

The

l a t t e r h a d recommended " m o ra l f i l o s o f i a " an d " g ra v e e s t i l o " as f i t f o r D e l i o 's l y r e .

F ra y D ie g o 's d isa v o w a l o f " h u m ild e s c a n ta r e s " u l t i m a t e l y

w orked t o h i s d e tr im e n t:

h i s " d é b il e s p u n to s " w ere in d e e d more s u i t e d

to f e s t i v e and amorous them es th a n t o g ra v e s u b j e c t s .

170

"Pintura deseada” (p. 201).

This décima did not appear in th e

1812 or 1817 e d itio n s o f Fray D iego's poetry.

I t i s w r itte n in p r a ise

o f M irta's beauty and could th erefo re be inclu ded among D e lio 's amorous com position s, but th e emphasis o f th e poem i s l e s s on M irta's beauty i t s e l f than on th e con d ition s th a t must be met in order t o p a in t her p o r t r a it .

D e lio 's compliment to M irta l i e s in the fa c t th a t he

exaggerates th e se con d ition s beyond a l l reason.

Because o f t h i s , "Pin-

tu ra deseada" t e l l s us more about Fray D iego's id ea s on a rt than about M irta h e r s e lf . Si l a e f i g i e verdadera De Mirta se ha de formar, Debe e l c ie lo aparejar Todo e l lie n z o de su e sfe r a . Es p r e c is e que e l s o l diera Sus rayos para p in c e le s . Color sus v ir tu d es f i e l e s . Su grande prudencia e l t ie n t o , Digna id ea su ta le n t o . La mano e l supremo A peles. In th e se l i n e s , Fray Diego does not touch on th e essence o f art in gen era l or o f p a in tin g in p a r tic u la r ; ra th er, he concerns h im se lf more w ith

th e apparatus o f p a in tin g , which i s seen here

th e p a in te r 's

as a c r a ft in which

m au lstick fig u re s as prom inently as doesc o lo r .

The

terms " e fig ie verdadera," "virtudes f i e l e s , " "grande prudencia," and " e l supremo A peles" favor th e academician rath er than th e g en iu s, th e a r tis a n rather than th e in t u it iv e a r t i s t .

Apeles was a Greek p a in ter

(Ijth century, B. C. ) who liv e d a t court and i s known now only fo r h is p o r tr a it o f Alexander the Great.

I t i s s ig n if ic a n t th a t Fray Diego

should grant supremacy in p a in tin g to A peles, y e t make no mention any­ where o f Goya, who was h is contemporary.

171

'

"A l a noche, pintada por J. Vernet" (p . 2 0 1 ).

Joseph Vernet

( 171 ^ - 1789 )» horn a t Avignon, was a French p a in te r o f sea sca p es, much admired fo r h i s technique o f com position and fo r h is lig h t in g e f f e c t s . His p a in tin g o f th e n igh t su g g ests a l o g i c a l dilemma to Fray Diego, which the p o e t propounds in the fo llo w in g l in e s : 6A que lu z exam inaste. Gran V ernet, l a noche o s cura. Que en tu famesa p in tu ra Tan a l v iv o l a c o p ia ste? S i de noche l a p in t a s t e , iQué lu z tu p in c e l gui6? S i de d ia , no sê yo Como ta n ta oscuridad, Juzgândola r e a lid a d . Su lu z no l a d is ip o . José Maria C o ssio , in a b r ie f chapter on Fray D iego, examines t h is décima, which he c a l l s "muy notable y conocida” ; C o ssio 's commentary i s b r ie r enough to quote almost in i t s e n t ir e t y . E sta in g e n io s a com posicion, e s t a a l a v i s t a , no es p o esia . Es tan s o lo un razonamiento lo g ic o a que un t r a t a d is t a e s c o la s t ic o , e l mismo P. M. /Fray Diego G onzalez/, d aria e l nombre de dilema. En e f e c t o : tenemos una p ro p o sicién u n iv e r sa l d isy u n tiv a . 0 p in to su cuadro Vernet de noche o l e p in to de d ia . Optar por cu alq u iera de lo s dos miembros conduce a un mismo resu ltad o de d if ic u lt a d . S i l e p in to de noche no es v e r o sim il que pudiera guiar su p in c e l s in lu z . S i l e p in tô de d ia , s u lu z , juzgando rea lid a d l a s t in ie b la s del cuadro, debi6 d is ip a r la s y anular l a la b o r. Oreo que exactamente es a s i e l esquema d ia le c t ic o . Pues b ie n ; y a que fray Diego nos ha tr a id o a un terreno puramente r a c io n a lis t a , sigamos d iscu rrien d o en e l . Optando por e l primer miembro de l a d isy u n tiv a l a con clu sion e s v aled era. De noche y s in lu z no debiO e sta r bueno e l p in to r . Mas e l segundo térraino no e s sin o un efu g io l i t e r a r i o in g e n io so , s in valor lo g ic o . La lu z d e l d ia no habia p e lig r o de que d isip a r a la s t in ie b la s d e l cuadro. Se tratab a de un im p osib le f i s i c o . En c o n c lu sio n , debemos d e c id ir que e l cuadro se p in to de d ia. Nada h a b ria que oponer a e s ta co n c lu sio n , n i e l l a disminuye e l v alor d e l cuadro. Mas usa e l P. M. una palabra en su décima, de tan in e v it a b le s y év id en tes adherencias n a t u r a lis t e s , que no se puede d eja r de reparar en e l l a . La palabra co p ia r. Claro que e l l a e v id e n c ia una co n tra d iciio n en tre lo s p ro p ô sito s e s t é t ic o s y la r e a lid a d . A l a conclusion de que e l cuadro se p in té de d îa

172

ha de i r unida l a de que no se co p iô , sin o que se lo g r ô un mejor o peor resu ltad o apelando a su g e stio n e s de l a memoria.^® As noted by C ossio, Fray D iego's f i r s t premise i s sound;

i f Vernet

p a in ted h is p ictu re a t n ig h t, he could not have had the l i g h t o f day t o guide h is brush.

Fray Diego should then have continued thus;

if

Vernet p ain ted h is p ic tu re o f n ig h t by day, he could not have had b e fo r e h is eyes the n ecessary model from nature; th e r e fo r e , Vernet must have p ain ted h is p ic tu re from memory. tak e th is second lo g ic a l ste p .

But the poet does not

In stea d , once having p o stu la te d h is

f i r s t prem ise, he r e s o r ts to l i t e r a r y su b terfu g e, as C ossio c a l ls i t , , in order to indulge a fa v o r ite n o tio n ;

th a t a work o f a r t can be so

ex a ct a copy o f nature, th a t i t can be taken for r e a li t y ; fu rth er, th a t n atu re, deceived by the r ea lism o f th e work o f a r t, w i l l in some way r ea c t to i t .

Tliis n o tio n , alread y expressed in "A l a s nobles

a r te s ," is more ingenious than lo g i c a l ; as fo r th e poem, i t propounds a dilemma, but does not so lv e i t . "A don Bartolomé Vazquez, habiendo grabado la lâm ina de San Agustin" (p . 201).

I t should be s a id o f t h i s q u in t illa what José

Maria C ossio sa id o f "A l a noche"; p o e tr y .

i t i s in g e n io u s, but i t i s not

The su b ject o f the poem i s an engraving by an unknown a r t i s t ;

th e theme o f the poem i s by now a fa m ilia r one. Grabaste, Ioh Vazquez d iv in o l E sta vez con t a l primor. Que en tu b u r il p e reg rin e. Con s e r tan grande A gustin o, Parece mucho mayor.

Ojosé Maria de C ossio , "N aturalism e, convencionalism o; Fray Diego Gonzalez," P oesia esp anola; notas de ased io (Buenos A ires; E spasa-C alpe, 1952), pp. 115-116.

173

These l i n e s , l i k e th o se dedicated to V ernet, are ingenious in th e sen se th a t th ey combine agudeza and in g e n io ; th a t i s , they are te c h ­ n ic a lly wrought t o a ch iev e an e f f e c t through b r e v ity and w it.

It

should be ad m itted , however, th a t t h e ir s u c c e s s , i f any, i s on ly that and nothing more.

Again, th e underlying id e a o f th e poem i s th a t art

can improve upon n atu re; s p e c i f i c a l l y , in t h is c a se , th a t the a r t i s t ' s engraving o f S a in t A ugustine aggrandizes th e o r ig in a l.

The key word

in t h is com position i s "primor," j u s t as in "A l a noche" i t was "copiar," and "imitar" in "A la s n ob les a i'te s . " "Traduccion d e l e p it a f io la t in o que e l Bembo h iz o â Rafael" (p . 197)'

P ie tr o Bembo (1470-15^7) was an I t a lia n ca rd in a l, L a t in is t ,

hum anist, and s e c r e ta r y to Pope Leo X; he was a ls o a contemporary o f R a ffa e llo Ganti (1)483-1520), whom he e u lo g iz e s in th e follow ing epitaph: I l l e h ie e s t Raphael, t im u it , quo s o s p ite , v in c i, Rerum magna parens, e t m oriente mori. Fray D iego's tr a n s la tio n as i t appears in th e BAE: Aqu£ yace R afael, De quien natura, admirada, R ecelo por su p in c e l, V iviendo e l , ser superada, Y morir muriendo e l . The l8 l 2 and l 8 l 7 e d itio n s o f Fray D iego's poems con tain a second tr a n s la tio n o f Bembo's epitaph: Bajo e s t a lo s a dura Yace aquel R afael en cuya vid a La gran madre natura Temi6 se r excedida, Y quedar con su muerte d e str u id a . The BAE tr a n s la tio n i s more e la b o r a te , more in gen iou s in a purely

17% s u p e r f ic ia l way, "but th e id e a i s th e same as in th e second tra n s­ la t io n .

I t i s c le a r why Fray Diego should be moved to tr a n s la te t h is

epitaph on Raphael:

i t exp resses h is own views about th e r e la tio n sh ip

between nature and a r t.

I t should be noted th a t, a t bottom , th is

epitaph does n ot r e a ll y p r a ise Raphael d ir e c tly ; r a th e r , i t p e r so n ifie s nature and supposes on n a tu r e's part a fear th a t i t w i l l be sur­ passed by R aphael's a r t.

Nature fe a r s th a t so lo n g as Raphael should

l i v e , h is a r t w i l l be supreme; should th is supreme in te r p r e te r , im i­ t a t o r , and co p ier o f nature d ie , nature i t s e l f would d ie w ith him. The l o g i c a l ab su rd ity o f such c a v ils i s unimportant; n o te has already been made o f Fray D ieg o 's f a lla c io u s thinking w ith regard to art as im ita tio n o f n atu re.

What i s important fo r the poet here i s the co­

in cid en ce o f h is own view s w ith th ose o f Bembo. VII.

D id a c tic P oetry. "Las edades" (pp. 1 9 8 -2 0 1 ).

The correspondence th at passed

between variou s members o f the Parnaso t e l l s a g rea t d ea l about the g e n e sis and progress o f '/Las edades," Fray D iego's most ambitious work.

Fray Miguel de Miras in S e v ille provided th e impetus fo r the

i n i t i a l correspondence between Jovellanos and Fray D iego; t h is took the form o f a v e rse e p i s t l e from J o v ella n o s, e n t it le d H isto r ia de Jovin o, and o f which Cean Bermûdez w rites: E sta h is t o r ia , que gustô mucho a lo s Salam anticenses, fue causa de una nueva correspondencia p o etica e in te r e sa n te ; y e n tr e lo s verso s que despues se enviaron por una y otra parte se d is tin g u io sobremanera l a Carta de Jovino â sus amigos S a lamantinos . . . ^^

^ ^ C ean B e r m u d e z , o p .

c i t .,

p.

290.

175

In t h is e p i s t l e o f 1776» Jovellan os charted th e course th a t he thought poetry sh ou ld henceforth ta k e, as w r itte n by th e p oets who had placed them selves under h is tu te la g e; . . . guiados por l a su erte A mas nobles o b je to s, recorramos En e l afan p o e tic o m aterias Dignas de una memoria perdurable. Y pues que no me es dado que présuma Alcanzar por mis versos a lto nombre, Dejadme a l menos en tan noble in ten to La g lo r ia de guiar por l a ardua senda Que va â l a etern a fama, v u estros pasos.^^ To Fray D iego, Jovellanos recommended " la moral f i l o s o f i a ," to be w r itte n in "grave e s t ilo " ; to Melendez V aldes, works th a t should g lo r if y " e l furor de Marte" and th e heroes o f S p ain 's p a st; to Father Fernândez de R ojas, works to reform th e dramatic sta g e . Subsequently, Jovellanos sen t more s p e c if ic plans to Fray D iego, to which th e l a t t e r rep lied : E l correo pas ado r e c ib i de mano de B a tilo e l plan d el poema de Las Edades No so lo me g u sta y enamora, como todo cuanto s a le de l a pluma de V .S ., sin o que tambien me in c it a poderosamente â poner desde luêgo en e je cu cio n e l d esig n io . . . . Aunque presumo que V.S. sera de parecer de que e l verso que se baya de usar en e l poema debe ser lib r e y exento de toda rima, espero su expreso parecer en e l asunto. ^ The plan fo r w r itin g "Las edades" occupied the minds o f J o v ella n o s, Fray D iego, and Melendez Valdes and a l l approached the p ro ject w ith enthusiasm :

Jovellanos because he thought poetry should redound to

th e p u b lic good. Fray Diego and Melendez because they wished to make amends f o r having devoted so much o f t h e i r p o e tic en erg ies to £tmorous v e r se .

Cean Bermûdez continues: J o v e lla n o s , Obras, BAE ^6, p . 38.

^ ^L etter dated November 3 , 1776 a t Salamanca, quoted in Cueto, op. c i t . , p. CXI, n.5*

176 Fueron muchas la s c a rta s que se e sc r ib ie ro n en a q u ella epoca sobre p erfeccion ar l a p o e sia : me acuerdo de una muy la r g a que don Caspar d ir ig io entonces â Melendez, demostrandole que l a v a r ie dad lo c a l de l a cesu ra en medio de cada v e r s o , l o s h a c ia mâs sonoros y mas armoniosos; y tambien de o tr a que e s c r ib io a l P. Gonzalez en 23 de noviembre de 1776, recomendandole e l verso endecasilavo para e l poema de la s Edades, que componia aquel im itador de fray L uis de Leon, y haciendole observaciones d elica d a s sobre e l buen g u sto , y a r t i f i c i o d el metro. Con e s ta s y o tr a s cartas contribuyd Jove Llanos desde S e v illa â lo s .. progresos que h izo entonces l a p o e sia c a ste lla n a en Salamanca. Evident in the correspondence between S e v ille and Salamanca i s th e con­ v ic tio n on the part o f a l l in v o lv ed th a t poetry can serv e a moral pur­ p ose; i t was also thought, th e r e fo r e , th a t a thorough reading o f ancient and modern m oralists would prepare the author b e tte r t o develop h is theme.

A l e t t e r from Melendez to Jovellan os shows c le a r ly t h a t , at

l e a s t on th e part o f Melendez, "Las edades" was conceived as a com­ p ila t io n o f maxims, to be adorned by Fray D iego's muse. N uestro D elio le y 6 con gusto e l plan de l a primera edad; y aunque a l p r in c ip le se me r e s is t id alguna cosa, cu a si acabe de p ersu ad irle â que emprendiese e s t a obra, digna por c ie r t o , de su e s t ado, su p r o fe s io n , sus anos, su lit e r a t u r a y d e lic a disim o gusto. Tratamos depues de l o s lib r e s que pueden conducir a l p lan de V .S ., y , en l a poca n o t ic i a que tengo de e sta s ces a s, l e apunté de l o s mios: Los C aractères, de T h eofrasto. Los Caractères de n u estro s ig lo ; de Labruyère Los Pensam ientos, de Pas c a l . . . N oches, de Young. Sus mâximas son dignas de que tengan lu gar en e l poema de Las Edades. Malebranche y Locke . . . . Seneca. Ko debe d eja rse de l a mano. Con tod os e s t o s , y con l a asid u a meditacion d el hombre mismo, de sus v i c i o s , de sus v ir tu d e s y sus in c lin a c io n e s , se puede recoger un caudal s u f ic ie n t e de mâximas, que, v e stid a s y ataviadas por l a musa de D e lio , merezcan l a aprobacion y e l aplauso de lo s en ten d id os. Las verdades morales â mi me parece que se estu d ia n mejor por l a m editacion del hombre y l a frecu en te observacion de todos lo s e sta d o s, que por lo s l i b r e s . Nuestro D elio es d e l mismo s e n t ir .

^ ^C eân B erm u d ez, o p .

c i t .,

p p . 2 9 1 -2 9 2 .

177

y creo q u e, s i lo toma con e l empeno que l a obra merece, haga alguna co sa de provecho. 5 There i s a c o n tr a d ic tio n in Melendez’ s co n te n tio n th a t moral truths are "better s tu d ie d through m editation and ob serv a tio n than through books and h is l i s t o f books from which moral tr u th s are to be gleaned. No mention i s made o f sp on ta n eity or o f F e ij o o 's e lu s iv e yo no se que; r a th e r , th e work undertaJcen i s to be openly d id a c t ic , "alguna cosa de provecho," and worthy o f the applause o f th e lea rn ed . While Fray Diego receiv ed e n t h u s ia s t ic a lly both the su g g estio n and th e plan f o r "Las edades" from J o v e lla n o s , in f a c t he progressed s lo w ly and w ith much v a c ila tio n as to h is own c a p a b ilit ie s .

P ro fesso r

Monguio comments on th e preparations made by Fray Diego; . . . in a l e t t e r dated June 2 0 , 1778, he co n fessed to Jovellanos t h a t owing t o th e w orries o f h is o f f i c e as p r io r o f the A ugusti-nians o f Salamanca he had not y e t begun t o w rite th e poem o f "Las cuatro edades," a d i f f i c u l t work req u irin g more calm than he could expect to have. He may not have begun w r itin g i t u n t i l he l e f t Salamanca when in 1799 / s i c : a m isp r in t, presumably fo r 1 7 7 9 » sin ce the poet d ied in 179 k7 he became S e c re ta r y t o th e August in i an Province o f C a s t ile , an o f f ic e he had wanted probably because i t tr a n sfe r r e d him to Madrid where J o v e lla n o s had a ls o been tr a n sfe rr e d from S e v i lle in 1778. He must have been preparing fo r t h is com position very c a r e fu lly , how­ e v e r , and fo r a lon g t im e ... This sounds almost l ik e a plan o f o p era tio n s from the planning s e c tio n o f a gen eral s t a f f , and so in many ways i t i s . "Las edades" was in Gonzalez’s mind a d id a c tic poem; he s p e c i f i c a l l y s u b t it le s i t "Poema d id a c tic o ." To in s tr u c t was h is aim , and no in s tr u c tio n i s e f f e c t i v e w ith out planning and p r e p a r a tio n . What i s im pressive in th e preparation is the range o f reading i t su g g e sts in Greek, L a tin , French, and English authors, p r o o f once more o f th e e ig h teen th -cen tu ry Spanish attempt to open . n a t io n a l c u ltu r e to a l l the winds o f th e s p i r i t a f t e r the inbred atmosphere in which i t liv e d during th e l a t t e r p a rt o f the sev en teen th cen tu ry.

^^L etter dated November, 1776, quoted in Cueto, op. c i t . , p. CXII, from p . CXI, n . 5. ^ ^ M o n g u io , o p .

c i t .,

pp.

2 5 7 -2 5 8 .

178

In the l e t t e r in d ic a te d , Fray Diego a ls o c o n fe sse d to Jovellan os th a t i f he had known th e l a t t e r ' s in te n tio n —th a t th e w r itin g o f the poem was to begin at once— , "me hubiera excnsado con e l mejor modo, y en ninguna manera me encargara de lo que no podia yo desempenar." In th e end, "Las edades" was l e f t u n fin ish e d ; from referen ces in the correspondence, i t i s to be assumed th a t Fray Diego had pro­ je c te d four books coverin g a ls o , presumably, a d o le sc e n c e , m aturity, and o ld age; he com pleted only "La n in ez."

By " n inez," however. Fray

Diego did not mean th e in fa n t years o f one in d iv id u a l m ortal, but rath er the in fan cy o f th e human race a ft e r th e c r e a tio n o f th e world. To the e x te n t th a t t h is i s s o , there i s a discrepan cy between the p o e t's p h y lo g en etic view and the poem’s epigraph, which i s onto­ g e n e tic in i t s view .

The epigraph i s from H orace's E p is to la ad

P iso n e s, commonly known as h is P o e tic s , and reads thus in th e tra n s­ la tio n by M artinez de l a Rosa: La fn d o le y gustos de cada edad.observa, y da a lo s anos y a su v ario caracter lo que es p ro p io . E l nino que a r tic u la ya p a la b ra s, y con p la n ta segura e l su e lo h u e lla , ju ega con sus ig u a le s ; s in m otive se enfada y desenoja; y cada in s ta n te muda de p arecer. I t is c le a r from th e epigraph th a t Horace had in mind th e infancy o f an in d iv id u a l c h ild as r e p r e se n ta tiv e o f a l l c h ild r e n ; Fray D iego's v is io n i s more g ran d iose. Preceding th e poem i s the "Argumente d e l primer lib r o ," in ^Tprancisco M artinez de l a Rosa, " E p isto la a l o s P isones," Obras, Tomo I I I , BAE 13.0 (Madrid: Rivadeneyra, I 9 6 2 ) , pp. 1 U-I 5 .

179

which th e poet enumerates th e elev en s e c tio n s o f th e f i r s t book and o u tlin e s t h e ir c o n te n ts.

M artinez de l a Rosa i s th e on ly Spanish

c r i t i c to have concerned h im se lf w ith "Las edades" to any le n g th ; h is comments on the poem appear in h is "Apendice sobre l a p o e sia d id a c tic s espanola."^®

The f i r s t s e c tio n o f "Las edades" i s e n title d

"Proposicion" and s e t s fo r th the p o e t's purpose ( li n e s 1 -5 ) D ecir en v erso grave, numeroso, Del hombre v e g e ta b le , y la s sazones Por donde s in s e n t ir lo es conducido. En cada edad notando la s p asion es Que son propias . . . In h is con ven tion al in vocatio n to the muse, th e p oet asks th a t the poetry which he w rote in h is ignorance be consigned to o b liv io n and th at he b e in sp ir e d to teach and d e lig h t through h is v erse ( lin e s 6-11); . . . a l o lv id o Entrega e l verso blando que â mi l i r a D ic ta s te en v id a um brâtil. ( lAy, lo c u r a . Con e te r n a le s lâgrim as llo r a d a ! ) E l verso d id a sc a lic o me in s p ir a , Mezcla l a u t ilid a d con l a dulzura . . . Here, th e poet pays tr ib u te t o J o v e lla n o s, who, in h is e p i s t l e to the Salamancans, chose . . . e l compas le n to y numeroso que ama Tanto l a d id a sc a lic a p o e sia . Fray Diego con tin u es th a t i t would not be f i t t i n g fo r him to treat o f le s s e r su b je c ts than th ose which he has proposed fo r h im se lf in th is poem; h is years d ic ta t e th a t he s in g now on ly o f se r io u s m atters ( lin e s 1 8 - 1 9 ): Francisco Martinez de l a Rosa, "Apendice sobre l a p oesia d id a c tic a esp an ola," Obras, Tomo I I I , BAE 15 O (Madrid: Rivadeneyra, 1962 ) , pp. 67 - 6 9 . A ll q u otation s from M artinez de l a Rosa are taken from t h i s study.

180

Que l a cana en mi pelo ya ha n a cid o , Y ya a surcar l a ruga mi sem blante. Although M artinez de l a Rosa judges th a t Fray Diego i s "poeta f a c i l y ameno, f e l i z im itador de Fr. Luis de Leon, con quien l i e go alguna vez a con fu n d irse,"

th e ex p o sitio n o f th e poem's argument is

to him "lan guida y p ro sa ica ."

He concedes, however, th at in the

second s e c tio n , "D edicacion," Fray Diego "muestra mas nobleza en e l e s t i l o y mas c a lo r en l a expresion."

The d ed ica tio n i s to J o v e lla n o s,

who i s enjoin ed t o suspend fo r a time th e la b o rs o f h is o f f i c e and a s s i s t th e poet in the arduous task o f w r itin g ( li n e s 36-1*2): . . . détermina En e l nuevo camino que has mostrado. Mis pasos aun dudosos; lo to r c id o Endereza, lev a n ta lo ab atid o, T ild a con negra tin ta e l verso errado; Inffmdeme v a lo r , s i d e s a lie n to Eh l a ardua v ia por do va l a g lo r ia . / Î 8I 7 :

va a l a g lo ri§ 7

The l a s t lin e i s a d ir e c t referen ce to J o v e lla n o s' wish t h a t he be allow ed to guide th e Salamancans in th e ir new p o e tic endeavours: Dejadme a l menos en tan noble in te n to La g lo r ia de guiar por l a ardua senda , Que va â l a eterna fama, v u estro s pasos. ° When Martinez de l a Rosa ascrib ed "mas nobleza en e l e s t ilo " to the d e d ic a tio n , perhaps he had in mind th e l a s t th ree lin e s o f th at se c tio n ( lin e s k6-h8) : Tuya es l a id e a , mio e l verso s o lo ; Tus doctos pensamientos ve dictando; Yo a l dulce verso lo s ir e acordando. These lin e s r e v e a l perhaps th e major d i f f i c u l t y in th e com position o f "Las edades":

th e id e a fo r th e poem was not o r ig in a l w ith the poet

J o v e l l a n o s , O b r a s , BAE 1*6, p .

38.

181

and J o v in o * s good i n t e n t i o n s an d " d o c to s p e n s a m ie n to s " w ere n o t s u f ­ f i c i e n t t o e n s u re a nappy r e s u l t .

In view o f t h e f a c t t h a t F ray

Diego w a ite d so lo n g b e f o r e a tte m p tin g th e poem; i n view o f th e f a c t a l s o t h a t he c o m p le te d o n ly one book, and t h a t w ith g r e a t d i f f i c u l t y , t h e r e i s a lm o s t a h i n t o f w i s t f u l n e s s , p e rh a p s even ir o n y , i n h i s s ta te m e n t t h a t he w i l l a ttu n e J o v in o ’ s id e a s t o h i s own " d u lc e v e r s o ." As n o te d by M a rtin e z de l a R osa, F ray Diego was a f a c i l e p o e t ; h i s t a l e n t l a y i n w r i t i n g f e s t i v e v e r s e , in w h ich h e a l t e r n a t e d l i n e s o f seven and e le v e n s y l l a b l e s .

T h e r e f o re , w h ile t h e " v e r s o g ra v e " and

th e " v e rs o d i d a s c a l i c o " m ight h av e b een a p p r o p r ia te f o r Jo v in o * s i d e a s , th e y d id n o t e a s i l y acc o rd w ith F ray D ieg o ’s n a t i v e s t y l e . I n th e t h i r d s e c t i o n , "Recom endacion de l a m a t e r i a ," F ray Diego j u s t i f i e s th e in w a rd t u r n ta k e n by h i s p o e t r y ; he r e f e r s o b li q u e ly t o h i s e a r l i e r v e r s e s , and p erh ap s to th o s e o f th e o t h e r S alam an can s, when he s a y s r u e f u l l y ( l i n e s 56 - 5 8 ): E rra m o s, lay*, erram os to rp e m e n te . En o b je to s e x tra n o s consum iendo De n u e s tr o e n te n d im ie n to e l don d iv in o M a rtin e z de l a R osa n o te s th e c o in c id e n c e o f s e n tim e n ts b etw een th e s e l i n e s o f F ray D iego an d A lexan d er P o p e’s famous d ic tu m t h a t "The p ro p e r s tu d y o f M ankind i s Man" (An E ssay on Man, E p i s t l e I I ) .

In d ic a tiv e

o f th e poem’ s d i d a c t i c o r i e n t a t i o n , th e l a s t l i n e s o f t h i s s e c t i o n em phasize th e p r a c t i c a l o v e r t h e e s t h e t i c ( l i n e s 69 - 7^ ) : . . . consumimos La v i d a , s in s a b e r como v iv im o s . Como e n t r e f l o r e s n e c ia ra a rip o s a . De o b je to s en o b je to s d is c u r r im o s . S in to m a r, c u a l a b e ja d i l i g e n t e , A n u e s tr o p ro p io b ie n l o c o n v e n ie n te . By h i s c h o ic e o f m o d e ls, th e " a b e ja d i l i g e n t e " i n f a v o r o f t h e " n e c ia

182

mariposa," as w e ll as by h is use o f "nuestro propio bien" and "lo conveniente," Fray Diego le a v e s no doubt th a t "Las edades" i s meant to teach d ilig e n c e , p r a c t ic a lit y , and the study o f proper su b jec ts. The fo u rth s e c tio n o f the poem i s e n t i t l e d "Admirase la provid en cia de D ios en l a creacion d el mundo y lo s en tes que l e ocupan, y sus d e sig n io s en orden a l hombre."

With refer en ce to Fray D iego's

treatm ent o f h is theme, Martinez de l a Rosa w r ite s :

" . . . ya se d es-

cubre entonces e l e x c e le n te l i r i c o , nutrido con l a le c tu r a de sus lib r o s sagrados"; th ose lin e s d ea lin g w ith Moses on Mount S in a i, he con tin u es, r e v e a l " elevaciôn y grandeza." W hile some l i n e s may indeed be grand and e le v a te d in to n e , oth ers elude comprehension or para­ phrase; fo r exam ple, l i n e s 69-96:'' ^ • . . . confundido El s a c r ile g o error-, que a l n e c io ateo D icto en sec r eto e l corazon a le v e , Y e l sistem a o r g u llo so , que e l oido C ierra, cual aspid sordo, e l sa b io encanto Del g ita n o p a sto r, d el pueblo hebreo Padre y le g is la d o r , que p oseid o Del fuego c e l e s t i a l y sa cro sa n to . Que arder, s in consumir l a za rza , v id o . . . Being s e t o f f by pu nctuation, th ese l in e s form a grammatical u n it, but the t h o u ^ t th ey e n c lo se i s in a c c e s s ib le even a f t e r repeated read ings; to th e e x te n t th a t t h is i s so , th ey f a i l as p o etry . haps the l in e s admired by Martinez de l a Rosa are th e fo llo w in g Clines 100-107): . . . e l mundo en etern o horror y a c ia , Y en l a nada y a c ier a eternam ente. Si e l soberano Autor no l e e x tr a je r a Del no s e r , cual s i a l l i ya sé r tu v ie r a . Y sonando l a voz om nipotente. La u n iv e r sa l m ateria s a li o fu er a , Aunque inerme, v a c ia , inform e, impura . La fa z cenida de t in ie b la oscu ra.

Per­

183

Fray D iego's d e s c r ip tio n o f the various phases o f th e w orld's creation e x h ib its a curious mixture o f s c i e n t i f i c n a ïv e té and sop h is­ t ic a t io n ; on th e one hand, fo r example, he d e scr ib e s th e sun as i f i t revolved around th e earth ( l i n e s 1 U2 -IU 3 ): E l s o l , padre del d ia , rodeando La t ie r r a en desvelado movimiento . . . On the oth er hand, he acknowledges the ev o lu tio n a ry lin k between f is h and b irds ( lin e s 15^-157): Los s ile n c io s o s peces por l a f r i a C r is ta lin a region luego g ir a r o n ; Y la s canoras aves con ruido Desde e l agua tan raudo e l vu elo alzaron . . . C h a r a c ter istic o f Fray D ieg o 's d id a c tic s t y l e i s the circu m locu tion , the p o e t's attempt to achieve a p o e tic e f f e c t by shunning d ir e c t re ­ ference t o commonplace phenomena; th u s, water i s " el lîg u id o elemento" ( lin e 1 1 8 ) and " la f r i a / C r is ta lin a reg io n ."

In a l l , t h is fourth

se c tio n o f "Las edades" con tain s few l in e s th a t do j u s t i c e t o the theme—th e cre a tio n o f the w orld and i t s animal cre a tu re s— or to Fray D iego's a b i l i t i e s .

Furthermore, man does n ot y e t appear in the poem,

in s p ite o f the t i t l e o f t h is s e c tio n , which r e fe r s to God's "de­ sig n io s en érden a l hombre." "Complacencia d e l soberano Criador en sus obras" i s the t i t l e o f the f i f t h s e c t io n , in which God's handiwork i s d escrib ed in terras borrowed from p a in tin g .

I t has already been noted th a t one o f Fray

D iego's major in t e r e s t s was p a in tin g ; a lso noted was h is view o f p ain tin g as technique and a r t i f i c e rath er than as in t u it i o n .

Thus,

lin e s 168 through 192 are a s im ile fo r the p lea su re which God derived from the contem plation o f h i s works.

184

Como un sa b io p in to r , que concluid o E l lie n z o , la rg o tiempo meditado Y con profundo estu d io disenado, A tento l o contempla, y complacido N ota lo d e f in ido en la s fig u r a s , E l cauto d e s p e r fil de l o s con torn os, Lo sin u oso y plegado en lo s d in to r n o s, E l ameno f o l i a j e en la s v erd u ra s, De l a lu z a l a sombra l a in s e n s ib le D egradacion, l a h u e lla im p ercep tib le Con que e l dulce p in c e l v a rio l a s t i n t a s . Que dan l a suavidad y l a b e l l e z a , Y â v eces contrapuestas y d i s t i n t a s , Dando e l claro y oscuro f o r t a le z a , Aumentan e l r e li e v e , y juntamente E xtienden la s d is ta n c ia s luengam ente, Que a l co n tra rio suprimen â p o r f îa Los e sc o r z o s , con d ie s tr a economxa; Y mirando m il veces sus la b o r e s, Observa cada vez nuevos primores ; Mira e l to d o , y se pasma; admira e l a rte Llevado â p erfeccio n en cada parte*, Y ta n ta m a ra v illa contemplando, E l sem blante l e baSa e l grande gozo, Y en e l pecho l e b u lle e l alborozo . . . B asic to Fray D ieg o 's view o f p a in tin g i s th a t a r t i s su p erior to nature ; a r t imposes order and coherence upon an unordered w orld. T herefore, in s te a d o f d e scrib in g the w orld as God se e s i t . Fray Diego d escrib es th e s e n sa tio n s o f a pain ter who examines a completed canvas. I t i s not th e n a tu ra l w orld, th en , th a t in s p ir e s wonder, bu t rather a painted r ep re sen ta tio n o f th a t world; co n co m ita n tly , i t i s not the su b jec t o f th e p a in tin g th a t awes the p o e t, but th e co rrectn ess o f the tech n iq u e.

There i s , o f cou rse, a m etaphorical r e la tio n s h ip between

Gçd and th e p a in te r , bu t i t i s s ig n if ic a n t th a t Fray Diego should choose the p a in te r ’ s r e a c tio n s as a model. ‘ The r e la tio n s h ip between th e creator o f nature and the im ita to r o f nature i s e x p l i c i t in the fo llo w in g

lin e s

(1 9 3 -1 9 9 ):

A sf e l d iv in o A r t if ic e , mirando De sus d iv in a s obras l a hermosura.

185

Orden y proporcion, se com placia, Y en ver todo lo hecho tuvo holgu ra. Cada cosa por s i l e p a recia Buena, y mirado todo juntam ente, Le p arecio acatado y e x c e le n te . . . God i s th e d iv in e a r t i f i c e r and, li k e th e a r t i s t , he i s p lea sed by beauty, ord er, and proportion. Fray Diego p a sses next to th e c re a tio n o f man, "Creacion del hombre, compuesto de cuerpo y alma, y caos inmenso entre l a m ateria y e l e s p ir it u ."

For th e f i r s t time in th e poem. Fray D iego's conception

r is e s above th e m erely pedantic as he d escrib es th e moment o f man's crea tio n ( l i n e s 21^ -236); i t was fo r man th a t God created th e world and now God i s ready t o fash ion man in th e d iv in e image; "Hagamos (d ijo ) a l hombre." Ceso e l canto, Sobrevino â lo s coros e l espanto; Y v ie ro n admirados que in c lin a d a La inmensa m ajestad a l bajo lo d o , Tomaba una porcion, y separada Del r e s t o , en forma a ir o sa l a p u lia , Cubriendo con rosada p i e l e l to d o . Que innum erables. p a rtes co n ten ia , Cada cual destinada a l propio o f i c i o . IQue conexion, quê orden, que a r t i f i c i o En h u eso s, n e r v io s, venas s e guardaba! IQue b e lle z a , que t a l l e y sim e tr fa En todo e l e x te r io r m anifestabal Mirado e l b e llo r o s tr o , p a recia ^^817: mirandq/ Que en ap a cib le sueno reposaba. Mas lay I que eternamente c a r e c ie r a De to d a sensacion y movimiento, Y como e sta tu a inanimé y a c ie r a . S i e l Criador, con su d iv in o a lie n t o Soplandole en e l r o str o blandamemte, E s p ir itu inm ortal no l e in fu n d iera ; E s p ir itu inm ortal, alma v iv ie n t e , Del mismo que l a h a c ia imâgen c la r a . . . The c r e a to r 's work amazes through i t s "conexion, . . . 6rden, . . . a r t i ­ f i c i o . . . y s im e tr ia en todo e l e x te rio r " ; th e c rea to r here i s lik e "el d iv in o A r tific e " o f th e preceding s e c t io n , d e r iv in g pleasure from "hermosura, 6rden y proporcion."

186

When Fray Diego turns from m a teria l to s p ir itu a l man, h is execu tion ,

in th e op in ion o f Martinez de l a

d iffic u ltie s of

the s u b je c t:

Rosa, s u ffe r s from the

"Al hablar de l a m isterio sa union de

alma y cuerpo, r e s ie n te s e e l poeta de l a d ific u lta d d e l as unto" ; in t h is s p e c u la tiv e area, th e p oet i s encumbered by " la s trabas de l a m e ta fisic a ."

In l in e s 2kk-231> Fray Diego attempts t o ex p la in man’s

b ein g as i t was r ec e iv ed from God: . . . c o n stitu id o De m ateria y e s p ir itu ; porciones De tan raras y opuestas condiciones. Que de l a una â l a o tr a no se viene Por graduacion, n i entre e lla s se conviene. Ni hay orden, proporcion n i analogia; Que un i n f i n i t e câos in ter v ie n s Entre una y o tr a . . . The p o e t's in s p ir a tio n f a l t e r s as he attem pts to e x p la in by pu rely r a tio n a l means th a t which i s r a tio n a lly unexplainable, th e m ysterious union o f body and s o u l.

In c o n tra st to e a r lie r lin e s o f t h is s e c t io n ,

l i n e s in s p ir e d by th e p o e t’s conception o f God’s handiwork, th e l a s t l in e s ( 251 - 2 5 6 ) are fo r c ed and s e lf -c o n s c io u s ly m o r a lis tic as th e p oet m etap horically d escrib es th e g u lf th a t separates man’ s body and so u l: . . . mâs in t r a n s ita b le Que e l grande esp a cio que imposible h a c ia , Desde e l pobre f e l i z a l miserable Sed ien to r ic o , que en l a llam a a rd ia , E l co rto r e f r ig e r io que p ed ia Para tem plar la sed in to le ra b le. The poet e r r s in u sin g as an example the s im p lis tic c o n tr a st between the "pobre f e l i z " and th e "m iserable . . . rico " ; furtherm ore, an example drawn from an alread y-d evelop ed s o c ie ty does not accord w e ll w ith th e oth er h a lf o f the comparison— the g u lf between man’s so u l the tim e o f h is c r e a tio n .

and body a t

187

S e c tio n VII i s e n t it le d ”Admirable p rovid en cia con que e l Criador proporcionô e sta s dos compartes / l a m ateria y e l e s p i r i t u / , para que compusiesen un tod o."

The essence o f t h is p a r t o f th e poem

i s exp ressed in lin e s 262-267:

God so jo in ed man's body and so u l th a t

. . . â cu alq u iera impresion que r e c ih ie s e La m ateria, en e l alma â competéncia Idea semeja n te se formase; Y a l c o n tr a r io , s i e l aima p r e c ib ie s e T riste z a 6 a le g r ia , r e s u lta se Dolor 6 gu sto a l cuerpo. There fo llo w s a s im ile inten ded to i l l u s t r a t e th e p o e t's id e a ; th e s im ile i s taken from the f i e l d o f music and i s based on th e harmonic v a r ia tio n s o f str in g e d instrum en ts. The union o f matter and s p i r i t continues to occupy th e p oet in th e e ig h th s e c t io n , "P rerogatives y f e lic id a d d e l hombre en e l estado in o c e n te ."

M atter-'and-spirit a r e -jo in e d as in m arriage; the so u l i s

th e n o b ler o f th e two and s e r v e s to contain th e b aser component, m atter, . . . con doradas r ie n das su jetab a La in f e r io r turba de a p e tito s v a rio s . . . The f i r s t l i n e o f t h is p air prom ises a f l i g h t o f fan cy; the "doradas riendas" conjure up the pow erful y e t sweet r e s tr a in t s o f rea so n , what Becquer w i l l la t e r c a ll " b r illa n te rien d a de oro" and " h ilo de luz" (Rima I I I ) .

U nfortunately, th e second lin e does not f u l f i l l th e pro­

mise o f th e f i r s t ; w ith the ex cep tio n o f the phrase " la concertada l ig a ," which s u c c in c tly d escrib es th e harmonious union o f m atter and s p i r i t , th e remainder o f the eig h th s e c tio n i s ponderous and un inspired. The n in th s e c tio n , "Degradacion de l a n a tu ra leza por l a d eso b e d ie n c ia d e l primer hombre," i s n o ta b le only because o f th e referen ce

188

i t c o n ta in s to John M ilton d ic ta t in g P aradise Lost to h i s dau ghters. J o v e lla n o s had tr a n s la te d th e F ir s t Book o f P aradise Lost and sen t a copy o f h i s tr a n s la tio n to Salamanca, where i t was r e c e iv e d w ith the reveren ce and enthusiasm accorded to a l l the m a g is tr a te s's works. Fray D ie g o 's r e fer en ce t o M ilton in a work la r g e ly d ic ta te d by J o v ella n o s i s a t r ib u t e to th e m a g istr a te 's pre-em inence among the Salamancan p o e ts .

Whether or n o t Fray Diego was fa m ilia r w ith M ilto n 's l i f e and

works in E n g lis h , or ju s t w ith J o v e lla n o s' tr a n s la tio n , i t i s worthy o f n ote t h a t th e A ugustinian poet should not scr u p le to p o rtra y , f a n c if u lly perhaps, th e E n glish P u r ita n 's r e a c tio n t o man's f a l l from g ra ce.

Thus, in lin e s 321-332, Fray Diego s h i f t s h is emphasis from

h is own sorrow over man's o r ig in a l s in to M ilto n 's g r i e f over S a ta n 's u n ju st triumph over man: El tr iu n fo in j u s to , que con grave ca n to , Interrumpido â veces con e l l l a n t o , Y laud t r i s t e sâbiamente h erid o . Lamentaba con verso numeroso En l a o r i l l a d e l Têmesis nubloso El r e li g io s o M ilton; y a l son id o. Sus rubias n in fa s l a cabeza a lza b a n , Y â l a h i s t o r i a t r is t i s i m a a ten d ia n , Y con profundos ayes renovaban La memoria d el dulce b ien p erd id o, Mirando a l Padre, cuya urna henchian Con e l cop ioso lla n t o que v e r tia n . The l a s t l i n e s con tain what in the view o f M artinez d.e l a Rosa i s an "imagen m agn ifica" ; u n fo r tu n a tely , he adds, th e fo llo w in g s e c tio n i s fa r from h avin g equal m erit. One o f th e weaknesses o f "Las edades" i s Fray D ieg o 's penchant fo r i l l u s t r a t i n g an obvious p o in t by su p erflo u s examples ; in numerous in sta n c e s throughout the poem th e argument i s suspe’ led in favor o f a s im ile t h a t , l i k e l y as n o t, tak es th e poet fa r a f i e l d from h is su b je c t.

189

The most n otab le example up to t h is p o in t in th e poem was a d ig r e ss io n o f tw e n ty -fiv e lin e s th a t compared God, " el divino A r t if ic e ," and "un sabio p in to r ."

In a lik e fa sh io n . Fray Diego opens th e te n th s e c t io n ,

e n t it le d "Males y m iseria s en que in c u r r iô e l hombre por su d e sob ed ien cia," w ith a g ra tu ito u s s im ile th a t only d etra cts from th e focus o f h is theme.

How much b e tte r t h is s e c tio n would be—and w ith i t the

e n tir e poem—i f Fray Diego had dispensed with clumsy comparisons and gotten d ir e c t ly t o th e p o in t, in t h i s case the i l l s to which mem i s h e ir because o f h is o r ig in a l s in ( l i n e s 352-355; 369-381; 385-391): IOh amarga culpal î Cuanto mal t r a j i s t e Al hombre en breveI Tu l e derrocaste Del no entendido honor en que v iv ia , Y a l jumento in s ip ie n te l e ig u a la ste ; Por t i en e l mundo en tro l a muerte f r i a , Por t i l a enfermedad y l a d o len cia . La vergonzosa desnudez, l a impia Siempre tra id o ra i n f i e l concupiscen cia. La ig n oran cia , e l o r g u llo , la in sa c ia b le C odicia, la hambre y sed , y l a in d ig e n c ia , Y de o tro s monstruos turba innumerable. Que de tr o p e l s a lie r o n d e l profundo Para danar a l hombre m iserab le, Y e sta b le c e r su imperio en todo e l mundo. Por t i s o la fue e l hombre desterrado Del d e lic io s o Eden, y condenado A no vo lv er . . . , . . Por t i l a t i e r r a , que primero De su grado lo s fr u to s produjera. En p osesion m aldita fue trocada. Que s o lo d iera a l dueno l a grosera Espina y cru el ab rojo, s i no fuera Con duro y corvo arado fa tig a d a , Y con sudor y lagrim as regada. Here, th e p oet and th e p r ie s t become one as they consider th e r e s u lt o f Adam's s in ;, s ig n if i c a n t ly , i t i s th e p r i e s t ’s r e lig io u s ferv o r th a t in fu s e s th e poet and e le v a te s h i s v e r se .

The few tim es th a t Fray

D iego's h e n d ec a sy lla b le s r is e above th e merely p e d e str ia n , th ey do so

190

because th e p r ie s t supplants th e pedant.

Fray D iego’ s conception be­

gin s t o soar on ly when he i s moved by a r e lig io u s theme and on ly when he develops th a t theme d ir e c t ly , w ithout recou rse to superfluous examples and il l u s t r a t i o n s .

Martinez de l a Rosa says th a t Fray D iego's

lin e s on the o r ig in o f e v il are more e le v a te d because the p o e t, as a p r ie s t , could n o t be in d iffe r e n t to a theme o f such magnitude: . . . a l c o n c lu ir de enumer' xos males que se originaron d el pecado d el primer hombre, se nota c ie r t o ca lo r que prueba no menos e l buen gusto que l a s e n s ib ilid a d d el p o eta , e l cual no pod ia hablar con tono in d ife r e n te de un su ceso de que pendio l a su e rte d e l lin a j e humano y l a suya propia . . . In the l a s t lin e s o f t h is s e c t io n .

Fray Diego r e fe r s to the

earth as "posesion m aldita"; such terms r e f l e c t the view o f a man who has renounced e a r th ly p o ssessio n s in order b e tt e r to serve God; they are a ls o the remembrance o f a man born o f

people who t i l l e d th e s o i l .

The poet says th a t sin c e man's f a l l from g ra ce, th e earth w i l l y ie ld her f r u it s on ly i f she i s Con duro y corvo arado fa tig a d a , Y con sudor y lagrim as regada. Fray D iego's v e r se autobiography, " H isto r ia de D e lio ," rev ea ls th a t h is forebears in h e r ite d in f u l l measure th e curse placed upon Adam's seed: De lo s que en l a r ib e r a Del Duero con f a t ig a Rompen con corvo arado e l duro su e lo (Ocupacion sev era . Que l a culpa enemiga Al hombre d ie r a , con e l lla n t o y d u elo ). De t a le s plugo a l c ie l o • Que fu ese provenido Mi padre bienhadado . . . The elev e n th and f in a l s e c tio n o f th e poem bears the lo n g t i t l e "Bienes n a tu ra les que quedar on en e l hombre despues de su degradacion;

191

_______

sus e x c e le n c ia s , se n o r io , in d u s tr ia y ta le n to para procurarse su f e lic id a d por me dip de l a a g r ic u ltu r a , comercio y descubrimiento de l a s a r te s y c ie n c ia s ." Opening t h is s e c tio n are a few lin e s th a t seem to f u l f i l l th e promise o f such a grandiose t i t l e ( lin e s 392-39 8 ): IOh amarga culpa! iTanto mal h i c i s t e Al misero m ortal! Mas no lo g r a s te Acabarlo d e l todo; tû mudaste Su estado y condicion; mas no p u d iste Mudar e l nob.'.e s e r , n i l e q u ita ste E l dominio supremo, e l poderio Que ejerce sobre todo l o terreno . . . But th e e le v a te d

ton e is not m aintained; the poet goes on to e x p la in

the nature o f man's dominion

over th e creatu res o f th e earth and h is

achievem ents in a g r ic u ltu r e .

On th e one hand, the p o e t's i l l u s t r a ­

tio n s range from on th e o th e r ,

th e

" e l carnicero b u itre" to " la a str in g e n te b e llo ta " ; poet

avoids u sin g a common noun in order to use a

co n triv ed circum locu tion— "movil puente" fo r "barco" or "embarcacion. " Toward th e end o f th e poem ( lin e s ^22-^35), Fray Diego summarizes h is view s on a r t , th e same view s which he puts forth in "A las nobles artes" : . . . Y la s d iv in a s A rtes a d v ir tio en s i , con que lev a n ta A un nuevo y a lto se r e l ser primero; Y trasladando â un lie n z o l a natura, Instruye l a razon, l a v i s t a encanta, Y f i j a â un ser l a f u g it iv a h is t o r ia ; Y cediendo a l c in c e l l a p ied ra dura, 0 en moldes lo s m etales desatados. De sus héroes conserva l a memoria; Y d e l su elo se a le j a , y l a v a c ia Region h u e lla seg u ro , y en dorados Techos h a b ita , y ju n ta en sociedades Los hombres, que con sâb ias le y e s guia A su fe lic id a d . . . While t h i s summary o f the nature o f a r t i s b esid e th e p o in t and in f e r io r to oth er p a r ts o f th e poem, i t does in d ic a te Fray D ieg o 's abiding

192

in t e r e s t in a r t , e s p e c ia lly as regards a r t 's s o c ia l and d id a c tic fu n c tio n s.

One t h o u ^ t does stand out in t h i s statem ent, however;

th a t th o u ^ man f e l l from d iv in e g ra ce, "las d ivin as / A rtes a d v ir tio en s i ."

Man's c r e a tiv e im pulse in p a rt redeemed him; a r t rep resen ts

th a t tr a c e o f d iv in it y th a t was l e f t t o man a fte r h is f a l l .

But Fray

Diego does not pursue th is thought fu rth er; th a t i s , he does not su ggest th a t t h is r esid u a l d iv in it y might m an ifest i t s e l f in an im­ petuous spark o f gen iu s; r a th e r , he valu es a r t for what i t can c o n tr i­ bute to man's s o c i a l w e ll-b e in g .

S h o rtly a f t e r th ese l in e s on a r t ,

the poem ends as in a u sp ic io u s ly as i t began. On May 1 9 , 1796, J o v ella n o s records in h is diary th a t he has r ec e iv ed from Father Fernandez de h o ja s a copy o f the f i r s t e d itio n o f Fray D iego's p o e t r y . T w o days l a t e r , in a l e t t e r to Father Fernlndez, J o v e lla n o s w r ite s: iY que? El Poema de la s Edades, Jquedara sin continuador? Ya Vm. me e n tie n d e. A d e c ir le francamente l a verdad, req u iere mas fuego y menos encogim iento de lo s que t e n ia D elio cuando l e acom etio. Yo queria un poema d e s c r ip t iv e , y l e c o n v ir tio en un poema moral. Habian pas ado ya l o s d ias de lo za n ia y ro b u stes; Vm. e s t a en e l l o s to d a v ia : no l o s deje pasar v a c io s. La moral, debe sazonar l a obra, y no mas. Las g ra cia s de l a n ih e z , lo s juegos de l a p u e r ic ia , l a s p asion es de l a a d o lescen cia , la s grandes v ir tu d es y v ic io s de l a edad v i r i l y l a decadencia de unos y o tr o s en l a v e je z : he aqui lo que debe ocupar p r in c ip a lmente e l p in c e l. No ten g a Vm. en o c io e l suyo, y sep a , que s i algo v a lg o , e s para co n sejero .5 1 J o v ellan os n otes in h is d iary th a t th ere were "bellas cosas" in Fray D iego's poetry and in h is l e t t e r to Father Fernândez he c a lls th e l a t t e r ' s e d itio n " u n 's e n c illo y g ra cio so monumento, e r ig id o por l a J o v e lla n o s , D ia r io s , Vol. I I , p. 2U6. ^^I b id . , p. 2 ^8 , from p. 2 4 6 ,,n . 1 .

193

am istad."

Yet, th ere i s a h in t o f p etu la n ce in Jovino*s in s is t e n c e

th a t "Las edades" should he completed and in h is complaint th a t th e poem was not w r itte n as he had o r ig in a lly intended.

J o v ella n o s erred

in su ggestin g th a t Fray Diego w rite "Las edades"; in u rging Father Fernandez to complete th e poem he attem pted to compound h is o r ig in a l erro r.

To what e x te n t J o vella n o s m isconstrued h is own good in te n tio n s

can he seen from h is a s s e r tio n th a t, i f he i s good fo r an yth in g, i t i s as a counselor.

On th e p o in t o f Jovellanos* good in te n tio n s and

had counsel to Fray D iego, Cueto o ff e r s the fo llo w in g judgment: J o v e lla n o s, con laud able in te n c io n , quiere ayudarle en sus pro­ p ô s ito s , y no so lo l e encarece l a e x c e le n c ia de un a sunto de moral f i l o s ô f i c a , f un dado en e l e stu d io del homhre, s in o que forma por s i mismo e l plan del poema d id â c tic o Las Edades, cuya primera p a r te , La Minez, lle g ô a e s c r ih ir e l candoroso a g u stin o . La musa de Fray D iego, lle v a d a como con andadores por J o v e lla n o s , en. vez de oaminar. mas- firm e y mâs seg u ra , v a c ila y d ecae. El in s tin to popular repara y corrige e l error comet ido por e l e s p i­ r it u d o ctrin a l exagerado y aprem iante, y m iêntras poquisimos le e n la s elevadas m editaciones d el maestro Gonzalez sohre l a primera edad d e l homhre, se hacen innumerahles e d ic io n e s de El Murcielago a le v o s o , que Quintana ex clu y e d el Tesoro d e l Parnaso esp a n o l. y e l p û h lico aprende de memoria l a donosa i n v e c t i v a . 52 Perhaps, as Cueto s a y s. Fray Diego*s popular i n s t in c t tempers the d o c tr in a ir e tone o f the poem, hut i t i s Fray Diego *s r e lig io u s in s t in c t th a t saves the poem from complete f a i l u r e . Modern assessm ents o f **Las edades" agree w ith Cueto’ s judgment th a t i t i s an in f e r io r work, a t the same time th a t th ey s t r e s s Fray D iego’ s f a c i l i t y in other area s.

I . L. M cClelland w r ite s :

Thanks to h is sound lit e r a r y t a s t e h is s t y l e has a p u r ity c h a r a c te r is tic o f th e f i r s t Salamancan sc h o o l. But he was not su c c e ssfu l in ser io u s or p h ilo so p h ic v e r s e s , as ind eed were very few w riters o f the p e r io d , and h is u n fin ish ed d id a c tic poem. Las 52

C u e to , o p .

c it .,

pp.

C X I -C X I I .

194

edades, w r itte n at the in s t ig a t io n o f th e well-m eaning J o v e lla n o s, r e v e a ls th e eigh teen th -cen tu ry pedant n ea rly a t h is w orst. Fray Diego was h a p p iest in th e lo v e l y r i c s th a t so troubled Jovellan os ' s o u l, e s p e c ia lly the "Buenos" and "V isiones" o f D e lio , and "El m urcielago a le v o so ," th e l a t t e r b e in g th e only poem by which he i s now g e n e r a lly known. W illiam Atkinson agrees th a t Fray D ieg o 's development as a p oet was cu t sh o r t by th e in te r v e n tio n o f J o v ella n o s; How fa r a growing mastery o f v e h ic le and manner would have c a r r ie d Gonzalez we cannot t e l l , fo r J o v ella n o s intervened. J o v e lla n o s , w ith the au th ority o f a m a g istr a te , lacked the p e r s p ic a c ity to know i t s lim it a t io n s . He could encourage a p o e ta s te r by bid din g him study no few er than ten p o e tic a s , and in a memorable E p isto la de Jovino a sus amigos de Salamanca ( 1 7 7 6 ) he s e e k s , w ith th e h ig h e s t o f in te n tio n s , to d e f le c t them from immediate t o u ltim ate is s u e s : IAy B a tilo ! lay Liseno! lay caro D elio! lAy, ay, que os han la s mag as salamantinas Con sus gorg in eria s adormido! Ay, ay, t h a t th ey should have been so amenable ! Gonzalez undertook-tor s in g no more save on themes o f moral philosophy. J o v e lla n o s went so far as to propose th e su b ject—Las Edades — and th e books to read; Gonzalez s e t to work on "el hombre vege­ ta b le " and ceases to in t e r e s t us.^4 While i t i s probably extreme t o say th a t w ith the w ritin g o f "Las edades" Fray Diego "ceases to in t e r e s t u s," i t i s true th a t he i s more to be commended fo r h is in te n tio n than f o r h is fin ish e d , or u n fin ish ed , r e s u lt . V III.

R e lig io u s p oetry. " S a tis fa c c io n d el Genii tr iu n fa n te a l Darro quejoso" (p. 197) «

Cueto n o te s th a t he copied t h is poem from th e manuscript which Fray Diego s e n t to J o v ellan os

th ere are s e v e r a l d iffe re n c e s in th e t e x t

^ M cC lella n d , op. c i t . , pp. 311-312. A tkinson, op. c i t . , p. 366 .

^^Cueto, op. c i t . , p. 1 9 7 *

195

as i t appears in th e BAE and as i t was p r in ted in th e e d itio n s o f l8 l2 and 1 8 1 7 .

In the l a t t e r e d it i o n s , fo r in s ta n c e , th e t i t l e i s "El

Genii T riunfante a l Darro Quejoso.

Cancion comenzada."

Other variant

readings occur in lin e s 2 , 4 , 1 2 , 1 3 -16, 1 9 » and 2 0 . This poem must be read in connection w ith "El tr iu n fo de Manzan ares," in which, as was seen e a r lie r , f i f t e e n o f th e poem's tw entythree octavas are devoted to an apparent v ic to r y o f th e Spanish r e l i ­ gious orders over co n tro l by Rome.

Nine r iv e r s fig u r e in the poem as

r e p r e se n ta tiv e o f a c it y or a reg io n ;

th e Tiber fo r Rome, the Man-

zanares fo r Madrid, the Termes fo r Salamanca, and th e B e t is , or Guadal­ q u iv ir , fo r A ndalusia.

A lso named i s th e G en ii, probably as repre­

se n ta tiv e o f Granada, s in c e th e r iv e r r is e s in th e S ie r r a Nevada ju st south o f th a t c it y .

The R iver Darro is not mentioned in "El triu n fo

de Manzanares"; hence th e s a t is f a c t io n th a t th e R iver Genii must g iv e to the com plaining Darro.

As in the e a r lie r poem, th e poet d isg u ise s

h is r efer en ce s to the in n er c o n f li c t s o f th e C a th o lic church; the language i s c r y p tic and meant to be understood only by those w ithin the r e lig io u s ord ers.

Only on th e b a s is o f t h is tenuous lin k with

r e lig io n can " S a tisfa c c io n d el Genii" be c a lle d a r e lig io u s poem, fo r c e r ta in ly i t does not touch on m atters o f f a it h or d o c tr in e . The p oet begins w ith th e same lin e th a t he u se s to open "A Liseno" and th e "P rofecia de Manzanares": iPor que te das torm ento, Darro, de que en e l tr iu n fo conseguido Tu nombre no has oido? lOh'. d e ja l a q u e r e lla y e l lam ento, Y torna a dar contento y a le g r ia A tu angostura umbria; Que s i yo ll e v o e l nombre en l a v ic t o r ia , Del tr iu n fo lle v a s td toda l a g lo r ia .

196

Line 2 , in the l8 l 2 and I 8 l7 e d it io n s , reads "Darro, porque en tr iu n fo conseguido"; lin e s It, "Ay! deja ya l a queja y e l lam ento."

The second

octava exp lain s geograp h ically why th e Darro can enjoy a l l the g lo r y o f the G e n ii's triumph: Aunque d e l seno f r io Los dos nacemos de e sa madre cana, Plugo â l a soherana Mano de hacer lo s dos un s o lo r io . Para e s t e f in e l nombre tû p e r d is te , Y gran caudal me d is te ; Y yo e l nombre t e d i para e l in t e n to , Corto caudal, y tardo movimiento. Lines 11-12 should read, as in th e I 8 l2 and I 817 e d it io n s , Plugo â l a soherana Mano hacer de lo s dos un s o lo r io . In th e se e a r lie r e d itio n s , lin e s 13-16 read: Para e sto d is te tû r ic o s caudales Eir tus' ' raudos- c r is t a l e s : Yo so lo e l nombre d i para e l in te n to , Pobre caudal y tardo movimiento. "Seno fr io " and "madre cana" r e fe r to the S ie r r a Nevada where both riv er s have t h e ir o r ig in .

The Darro empties in to th e G en ii, which in

turn em pties in to the Guadalquivir some s e v e n ty -fiv e kilom eters up­ stream from S e v ille .

Modern maps do not name a l l th e tr ib u ta r ie s o f

the G enii; fo r th a t reason, i t i s s t i l l apt th a t th e G enii should say "el nombre te d i."

In t h is poem, th e Genii speaks o f i t s "Corto

caudal y tardo movimiento"; in "El tr iu n fo de Manzanares," i t i s th e "apresurado G enii." In the th ird and f i n a l sta n z a , th e .p o e t returns to th e su b ject "of the r e lig io u s orders: No t6 , como e l Segura, Que e l tr iu n fo celeb ro de l a in s o le n c ia , Y puso l a in o cen cia En cadena in s o lu b le y c a r c e l dura.

19 7

For eso condenaron sus raudales Los d ie s e s inm ortales A s e r de cara madre d is tr a id o s , Y en la s mov id a s tie r r a s consumidos. Lines 19 and 20 in th e I 8 l2 and I 8 l7 e d itio n s read: Y puso â l a in o cen cia En p r is io n in s o lu b le y c a r c e l dura. The F iver Segura, sym bolizing here th e antagonist in th e r e lig io u s q u a rrels, r i s e s in th e S ie r r a de Segura in the province o f Murcia and, according to modem maps, em pties in to the Mediterranean downstream from the c i t y o f Murcia.

A pparently, in Fray D iego's tim e the r iv e r

disappeared in th e marshes named Pant ano de l a Fuensanta and Pantano d el Cenajo, fo r th e se would be th e "movidas tie r ra s" o f th e poem.

What

reason th e gods would have fo r thus punishing the R iver Segura—and by m etaphorical e x te n s io n , Murcia— , we do not know; i t was th e p o e t's in te n tio n th a t la y readers not know.

In any ca se, so many years a ft e r

the h i s t o r i c a l occasion fo r t h is poem—the v ic to r y o f th e Spanish orders over Rome— , the modem reader i s l e f t with o n ly a very minor poem, s u p e r f ic ia lly a poem about r e lig io n but in r e a l i t y a geographical c u r io s ity . "&Por que tan rigu roso . . . ? " (p. 1 9 1 ).

Though n o t r e lig io u s in

the same s e n se as Fray D ie g o 's tr a n s la tio n s o f psalms and hymns, t h is ode i s c l a s s i f i e d here as r e lig io u s because i t is. a d efen se o f r e lig io u s ed u cation .

Fray D iego's d efen se i s prompted by aoa a tta c k upon r e l i ­

gious ed u ca tio n by a " p o litic o sev ere."

S tr u c tu r a lly , th e poem c o n s is ts

o f a resume (th r e e sta n za s) o f th e p o li t ic ia n 's n o t!tn s about education w ith in th e w a lls o f a convent and Fray D iego's rebu .Lal o f th ose id ea s • ( f iv e s t a n z a s ) .

In t h is ode th e poet uses one o f h is fa v o r ite sta n z a ic

198

form s, th e t h ir t e e n - lin e stan za o f sev en - and e le v e n - s y lla b le lin e s rhymed abCabCcdeeDfF. Fray Diego c a lls th e p o lit ic ia n "severo," but h is own language i s u n u su ally sev e r e in th e opening lin e s o f the f i r s t stanza: iPor que tan rigu roso. P o lit ic o sev ero , Tuerces con ceno el r o s tr o , y ofend ido, R epites desdenoso Con ademan grosero E l coax de l a rana des ab ri do, Porque C e lia , cumplido Un lu s tr o solamente, Para se r educada, Del seno es separada M aternal, y cu a l victim a in o c e n te , Llevada a l a clausura, Que tti juzgas eterna sepultura? Only once b e fo r e has Fray Diego usrd such language s e r io u s ly :

in

"A M elisa. Cancion," when he warns M elisa o f a r iv a l who i s "dragon ham briento," "lobo sagaz," and "cazador a stu to ." p ie c e s , r id ic u le i s tempered by humor.

Even in h is s a t i r i c

In t h is poem, however. Fray

Diego the p r i e s t i s h im se lf "riguroso" and "severo" in h is sc o ld in g , as can be seen from h is use o f such terms as " tu erces," "ceno," "ofendido," "desdenoso," "ademan grosero," "coax," and "desabrido." The p oet r id ic u le s the p o li t ic ia n 's p o stu rin g and d is to r te d judgments, eq u atin g them w ith the raucous croakings o f a fr o g . The o c ca sio n fo r th e p o li t ic ia n ' s outburst i s th e f a c t th a t a f iv e y e a r -o ld c h ild i s about to enter a convent fo r r e lig io u s ed u cation . In th e p o l i t i c i a n ' s mind, th e c lo is t e r i s .for a c h ild Eterna sepultura, Donde en perpetuo o lv id o Sus g ra cia s yacerân . . . ( lin e s 1U-I 6 ) I t i s a p la c e where th e c h ild w i l l le a m to w aste i t s tim e in "nimias

199

devociones" in ste a d o f lea rn in g " la sâ b ia economia," or dom estic a r ts . The p o lit ic ia n fe a r s a ls o th a t th e years o f d is c ip lin e in th e c l o i s t e r w i l l le a d to d is s o lu te behavior whenever th e c h ild should le a v e the convent : 0 b ie n se desenf r ena , Y sig u e s in medida Los mundanaies g u stos Y p la cera s in j u s t e s , A que por tan to tiempo fuê impedida; Cual r io represado, Que e l ob stâcu lo puesto ha derrotado. ( lin e s 33-39) With l i n e 40, th e poet b eg in s h is r e b u tta l o f the p o l i t i c i a n ' s . m isconceptions: IOh! cuan enormemente De l a razon t e a le j a s . P o l i t i c o , juzgando desdichada A C e lia , l a in o c e n te , Que~sin duelo n i quej a s , Del corrompido mundo separada, Viene â se r c u ltiv a d a ; Como o liv a p recio sa Entre abrojos n acid a, Que de e l l os d iv id id a , Y tra sp la n ta d a â t ie r r a d e lic io s a , Paga despues tr ib u te Dando â su tiempo e l sazonado fr u to . Fray Diego in trod u ces here one o f the b a s ic ideas o f the poem: th e c lo is t e r i s " tie r r a d e lic io sa " as compared to the "abrojos"

th a t "del

corrompido mundo"; i t i s a "santo a s ilo ," Donde e l primer cuidado Es ensenar l a pura R e lig io n , que es l a r e g ia que compone El corazon y pone Al a p e tito freno ( lin e s 56- 6 0 ) The c lo is t e r i s a refu ge from "un s ig lo de desorden lle n o " ( li n e 6 3 )» " sig lo " being used in both i t s meanings o f m a teria l world and century.

200

Within the w a lls o f th e convent, C e lia w i l l have "maestras ilu s t r a d a s ” who w i l l teach h er "acciones sagrad as” a t th e same tim e th a t th ey condemn s u p e r s tic io n and f a ls e d ev o tio n .

I t i s s ig n if ic a n t th a t Fray

Diego should c a l l th e teach ers " ilu str a d a s ” ; t h is r e f l e c t s th e Uni­ v e r s it y c i t y ’ s break w ith s c h o la stic ism during the reig n o f Charles III.

In keeping w ith Salamanca's r o le as sy n th e siz e r o f id ea s from

a l l p arts o f Europe, the U n iv e r sity c i t y r e c o n c ile d r e lig io n and the enlightenm ent.

In oth er parts o f Europe, r e lig io n and the en lig h te n e d

s t a t e were regarded as b ein g ir r e c o n c ila b le ; in Salamanca, during th e 1 7 8 0 ’s , i t was thought th at one cou ld work to the advantage o f th e

o th er.

Fray Diego exp resses t h is id e a when he says th a t a c h ild who

sta y s in th e convent lon g enough to be educated Sera ejemplo con stan te De que la -p ie d a d s o lid a y sin cera Siempre se ha c o n c ilia d o Con e l b ien verdadero d el Estado. ( lin e s T4-T8) This i s a second theme o f the poem: S ta te .

the c o m p a tib ility o f Church and

Fray Diego a ls o defends th e convent as a democratic i n s t i t u t i o n ,

where th e n o b ilit y i s r eceiv ed "A co sta de un dispendio moderado" ( li n e 9 4 ) , but where . . . l a humilde pobreza, Con amor r e c ib id a . Es tambien educada con agrado. ( lin e s 95 - 9 7 ) A ll who come t o th e convent w i l l be educated, not on ly fo r p erson al b e n e f it b u t a ls o fo r the good o f th e S ta te , fo r from the convent many w i l l go on to teach others ( l i n e s 98-104): Aqui lo g r a e l Estado Seminario profundo De maestras formadas.

201

Que despues separadas E sparcirân l a fama por e l mundo, De un e sta b le cim ien to , G loria de nuestro s ig lo y ornamento. C onsistent w ith the poem's tw o-part str u c tu r e —the p o lit ic ia n 's views versus the p r i e s t ' s r e b u tta l— , there i s throughout the poem a b a s ic con trast between what the convent i s v u lg a r ly h e ld to be and what, in the p r ie s t 's o p in io n , i t a c tu a lly i s .

A ca ta lo g o f th e language

used by the p r ie s t in d ic a te s c le a r ly th a t he i s unequivocally in favor o f r e lig io u s education fo r c h ild re n , and th a t w ith iii the convent.

Note

has already been made o f th e p r ie s t 's unusually severe language in the opening lin e s o f th e poem; as the poem c o n tin u e s, the language becomes m a n ifestly p o la r iz e d .

For example:

victim a in o cen te

vs.

s in duelo n i quejas

etem nr'sepultura-

vs.

t i e r r a d e lic io s a

perpetuo o lv id o

v s.

san to a s ilo

nimias devociones

v s.

l a pura r e lig io n

fa ls a s devociones

,vs.

a ccio n es sagradas

s u p e r stic io n e s

vs.

l a piedad s o lid a y sin c e r a

pasion impura

v s.

e l esmero de una sâbia en se-

e l in te r e s grosero

nanza, v ir tu o sa , g r a tu ita

e l capricho v a r ia b le

y s in mudanza

lib e r ta d in s ta b le Few o f Fray D iego's poems are marked by ardor; only when he is moved by r e lig io u s sentim ent does h is conception r i s e above the ordinary, as in some s e c tio n s o f "Las edades."

In t h is ode, i t i s not so much ardor

we see as i r e , in s p ir e d by an attack on what Fray D iego, by vocation and temperment, h e ld most dear—r e lig io u s in s tr u c tio n w ith in th e church.

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’’Traduccion d el Salmo VIII" (p. 1 9 5 ).

For h is t r a n s la tio n , Fray

Diego uses th e l i r a form, th e same form th a t Fray Luis de Leôn used in h is tr a n s la tio n o f some o f th e Psalms.

There are nine stanzas in

Fray D iego’ s tr a n s la tio n , corresponding g e n e ra lly to th e nin e verses o f th e B ib lic a l t e x t ; the p o et adds a tenth sta n za as a doxology. In th e Gonzalez tr a n s la tio n , as in the B ib lic a l t e x t , the f i r s t and n in th stan zas are the same; th ey form a framework w ith in which the P sa lm ist s in g s o f God's handiwork.

A modern tr a n s la tio n i s included

h ere as a b a s is for comparing a standard p u b lish ed v ersio n o f the Eighth Psalm and Fray D iego's v e rse tr a n s la tio n . 1

IJehovâ, SeSor n u estr o , cuin admirable es tu nombre en to d a l a t ie r r a , que has pu esto t u g lo r ia sobre lo s c i e l o s i

In the Gonzalez- t e x t , t h is vers-e becomes two sta n za s: ICuan grande y adm irable. Oh Sefior, en quien nuestro b ien s e e n c ie r r a . Es tu nombre adorable En todo cuanto c ie r r a La redondez inmensa de l a t ie r r a l Pues l a m ag n ificen cia Que en tu s e x c e ls a s obras se ha mostrado. En poderio y c ie n c ia A si ha sobrepujado. Que mas que e l a l t o c ie lo se ha elev a d o . I f we assume th a t the modem v e rsio n i s a c r e d ita b le tr a n s la tio n o f th e o r ig in a l, we can a ls o say th a t Fray D iego’ s f i r s t stan za i s worthy o f i t s model; i t exp resses th e same id ea in sim p le , y e t e le v a te d la n ­ guage.

Perhaps the f i r s t h en d eca sy lla b le rep ea ts too o fte n th e sounds

-e n and - i e , but at f i r s t rea d in g the content i s more prominent than th e sound o f the l i n e .

The second stanza i s to o e ru d ite and concep­

tu a l; i t la c k s the d ir e c tn e ss o f both the f i r s t sta n za and th e

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corresponding l i n e s o f th e o r ig in a l. 2

De l a hoca de lo s p eq u en ito s, y de lo s que maman, has ordenado l a alahanza, a causa de tus a d v e r sa r ie s, para hacer c a lla r a l enemigo, y a l homhre vengativo.

The verse tr a n s la t io n : S a c a ste tu alahanza De i n f a n t i l hoca, que aun enjuga e l pecho; La enemiga a lia n za Confundida, y deshecho E l odio vengador y su despecho. N eith er o f th e s e v e r sio n s has the co n cisio n or p o e tic reach o f th e same v e r se in th e King James B ih le: Out o f th e mouth o f hahes and su c k lin g s hast thou ordained stren gth Because o f th in e enem ies. That th ou m igh test s t i l l the enemy and the avenger. The d iffe r e n c e may he due to the phrases " lo s pequenitos" and " in f a n t il hoca"; n e ith e r phrase i s grand enough to f i t th e conception.

Further­

more, the cadence o f Fray D iego's lin e i s hampered hy h is placement o f the a d je c tiv e s in " in f a n t il hoca" and "enemiga alianza":

such p la c e ­

ment g iv e s eq u al sem antic and phonetic valu e to hoth th e noun and the a d j e c tiv e , w ith th e r e s u lt th a t the in to n a tio n o f the l i n e s u f f e r s . The B ib l i c a l t e x t continues; 3

Cuando contemplo tus c i e l o s , ohra de tu s dedos, l a lu n a y la s e s t r e l la s que tu e s t a h le c is t e , ique v ien e a ser e l misero homre, para que tengas de e l memoria, y e l h ij o d el homhre, para que l e v is ite s ?

Fray Luis de Le6n b e g in s h is ode, "Noche seren a," with the l i n e s

2Qk Cuando contemplo e l c ie l o de innumerables lu c e s adornado . . . Fray D iego, whom contemporary and modern c r i t i c s ch a ra cterize as an im ita to r o f Fray L u is, in t h is case chooses not to borrow from Fray L u is, but ra th er t o say: Que s i lo s c ie lo s m iro, Esmero de tu mano om nipotente, Y e l desvelado giro De l a luna lu c ie n t e , Y de e s t r e lla s e l coro r e fu lg e n te , Luego digo, admirado: iQuê es e l hombre, que tanto l e encarece / BAE, I 8 l2 : Tu amor, 6 e l engendrado en carecesj D el hombre, que m il veces Con tu v is it a c io n l e favoreces? One d iffe r e n c e between Fray D iego's tr a n s la tio n and th e o r ig in a l i s the l e v e l o f language, whereby "obra" becomes "esmero" and, th e r e ­ quirements o f rhyme ap art, "el h ij o d el hombre" becomes "el engen­ drado d e l hombre."

The change from "dedos" to "mano" i s r e la t iv e l y

minor, bu t in th e change th ere i s a lo s s o f v iv id n e ss ; "mano" i s g en era l, g e n e r ic ; "dedos" i s s p e c i f i c , graphic, and more e v o c a tiv e — i t in d iv id u a liz e s th e work o f the hands.

Another d iffe r e n c e i s th a t th e

B ib lic a l t e x t does not in d ic a te any p e r so n ific a tio n o f n a tu re, whereas in Fray D ie g o 's t e x t p e r s o n ific a tio n i s im p lic it in "desvelado giro" and "coro r e fu lg e n te ."

The I 817 read ing must be introduced in l in e 22,

s in c e "encareces" i s c le a r ly not c o n s iste n t w ith the sen se o f the l i n e i f the su b je c t i s "tu amor." In some in s ta n c e s , the B ib lic a l te x t and the Gonzalez v ersio n are q u ite s im ila r : 5

Sin embargo, l e h i c i s t e un poco menor que l o s â n g eles; l e coronas tambien de g lo r ia y honra.

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6

l e haces senorear de la s obras de tu s manos . . .

Poco mênos l e h ic is t e Que e l an gel, y de honor l e coron aste Y g lo r ia , y l e p u s is te , Luégo que l e form aste. Sobre todas la s cosas que c r ia s t e . There i s l i t t l e d iffe r e n c e between th e two v e rsio n s o f th e se lin e s i f one excepts th e d iffe r e n c e between "un poco menor," which i s q u a lit a t iv e , and "un poco menos," which i s q u a n tita tiv e .

A th ir d v e r sio n , the

tr a n s la tio n by C ipriano de V alera, a ls o g iv e s "menor"; the same lin e in the King James B ib le reads "For thou has made him a l i t t l e lower than the angels . . . " The s ix th verse of th e psalm co n tin u es: . . . todas la s cosas has puesto debajo de sus p ie s : J ovejas y bu eyes, todo e l l o ; y asimismo la s b e s tia s d e l campo, 8 l a s aves d e l c i e l o , y lo s peces d el mar, cuanto pasa por la s sendas de lo s mares. Fran D iego's tr a n s la tio n in clu d es what i s probably the w orst l in e th a t he ever wrote: Y todo sometido Lo d e ja ste â sus p iés y â su mandado ; E l rebano v e stid o De la n a , e l buey pausado, Y cuanto pace yerba en monte 6 prado; Y la s lig e r a s aves. Que alzan e l vuelo â l a reg io n vacxa, Y l o s pescados graves. Que cruzan â p o r fia Las sendas de l a mar salad a y f r i a . Some circum locu tion s have already been noted in th_ poetry o f Fray Diego, but none so clumsy and forced as "El rebano v e stid o / De la n a ."

206

The image conjured up by th is phrase reduces th e h ig h ser io u sn e ss o f th e su b je c t to a b su r d ity .

A ls o , and again le a v in g a sid e the demands

o f rhyme, one could qu estion such phrases as "el buey pausado" and " los pescados graves" as n eed less p e r so n ific a tio n s in a poem th at should p e r so n ify o n ly God.

"La region vacia" makes th e sky an a lie n

medium fo r th e b ir d s ; " las aves d e l cielo " takes fo r granted the r e ­ la tio n s h ip between b ir d s and sky.

F in a lly , "Las sendas de l a mar

salad a y fr ia " evokes unpleasant sen sa tio n s w ith regard to the sea ; how much more p le a s a n tly su g g e stiv e to the im agination i s the phrase "por la s sendas de l o s mares."

This l a s t phrase c a l l s to mind the

w orld 's s e v e r a l se a s and the num berless, uncharted paths th a t cross them; th ere i s a ls o in t h is phrase th a t same su g g e stio n o f boundless immensity and v a r ie t y which we saw in the f i r s t v e r se o f the Psalm and which Fray Diego rep eats in h is ninth stanza; Oh Es En La

ICuân grande y admirable. Senor, en quien nuestro b ien se e n c ie r r a . tu nombre adorable tod o cuanto c ie r r a redondez inmensa de l a tie r r a l

The p oet c lo s e s h is tr a n s la tio n w ith a stanza in p r a is e o f the T r in ity .

"Traduccion d e l Salmo XI" (p. 195)*

The BAE and the e d itio n s

o f 1812 and 1817 e n t i t l e t h is poem "Traduccion d el Salmo X"; i t i s in f a c t Fray D ieg o 's tr a n s la tio n o f the Eleventh Psalm.

The Tenth Psalm

i s con sid erab ly lo n g e r than th e Eleventh and b e g in s: &Por oh ip or de

que t e mantienes tan l e j o s , Jehova? que t e escondes en lo s tiempos angustia?

Further comg)ounding the confusion i s the fa c t th a t Fray Luis de Leôn's

207

tr a n s la tio n o f th e Tw elfth Psalm i s l i s t e d in BAE 37 as "Salmo XI— Salvum me f a c . Domine. The E leventh Psalm i s n ot a song o f p r a ise as i s the Eighth; i t has more in common w ith the Tenth and Twelfth Psalms » which bewail the triumphs o f th e wicked over the poor and rig h te o u s.

In Fray D iego’s

tr a n s la tio n , th e E leventh Psalm c o n s is ts o f tw enty-nine lin e s o f irregularly-rh ym ed h e p ta sy lla b le s and h e n d e c a sy lla b le s, a combination o f verses which Fray Luis de Leon a lso used in some o f h is tr a n s la tio n s . The B ib lic a l t e x t o f th e Eleventh Psalm begin s: 1

2

3

En Jehova he confiado: Àcomo pues de CIS a mi alma, que escap e, cu al a v e c i l l a , a v u estro monte? Porque, he aq u i, lo s m alignos han e n te s ado e l arco, tie n e n apercibidas sus flé c h a s sobre' la cuerda, para asa etea r en o c u lto a lo s r e c to s de corazon. Pues que lo s fundamentos del orden se desmoronan; e l ju s to iquê ha efectuado?

In Fray D ieg o ’s tr a n s la tio n , th e se l i n e s read: iPara quê me d e c is ( s i en Dios c o n fio ): ’’8ÙS, co rre, a g u ija , v u e la , y como e l ave Traspasa e l monte y la encumbrada s ie r r a ? iNo ves l o s muchos que con pecho impio Aparejan e l arco duro y grave A ljab a, que sa e ta s m il e n c ie r r a , Para h e r ir en o cu lto a l inocente? iNo ves que han derrocado A l su e lo prestamente Cuanto tû en luengo tiempo has fabricado?" Mas ique h ic e y o , cuitado? The d iscrep an cy in th e numbering o f Fray Luis de Leon's tr a n sla tio n s b e g in s w ith "Salmo XI"— i t i s in f a c t the 12th; s im ila r ly , on pp. k j and f f . , Luis de Leon's 12th i s the B ib lic a l 13 th , his 17th the B ib lic a l l 8 t h , and so on.

208

More than j u s t a t r a n s la tio n . Fray D iego's version i s an expansion o f th e o r ig in a l t e x t .

For example, "escape" becomes th e more dramatic

"Su b , co rre, a g u ija , vu ela" ; i t i s more dramatic because i t su g g ests

d iffe r e n t means o f escap e, in c lu d in g im possible f l i g h t .

When th e poet

introduces th e s im ile "como e l ave," h is verb i s not v o la r but t r a s p asar.

The "monte" o f the o r ig in a l becomes "monte y l a encumbrada

sierra " ; "arco" becomes "arco duro" and "fléchas" becomes "grave / A ljaba, que sa eta s m il e n c ie r r a ."

But the expansion o f th e o r ig in a l

does not n e c e s s a r ily mean an improvement or an in crease o f p o e tic drama; i t means mainly an e r u d ite ela b o ra tio n o f the o r ig in a l t e x t , which i s alm ost spare in comparison.

The l a s t four lin e s o f the

tr a n s la tio n str a y somewhat from th e o r ig in a l rather than expand upon it. The B ib lic a l t e x t con tin u es : 4

Jehova e s t â en su santo Tempio; Jehova tie n e en e l c ie lo su trono; sus o jo s ven, sus pârpados prueban a lo s h ij o s de lo s hombres.

The Gonzâlez tr a n s la tio n : Ki ide quien tem erê, s i desde e l c ielo E l Senor, que en su santo templo mora, Sentado como ju e z , mira piadoso La causa de lo s pobres y su d u elo, Y de lo s hombres l a co n cien cia explora Con j u ic io r ig u r o so , Y pregunta im p arcial â cada uno, Al ju s to y a l impio de consuno? The B ib lic a l poet uses a d ev ice in th is Psalm that h e used a ls o in +he Eighth Psalm; th en , he had sa id : Cuando contemplo tu s c ie l o s , obra de tu s dedos . . . On th a t occa sio n Fray Diego tr a n s la te d "dedos" to "mano," w ith th e

209

r e s u lt

th a t th e l i n e l o s t in v iv id n e ss and in d iv id u a liz a tio n .

t h is Psalm , th e p o e t s a y s , speaking o f Jehovah, "sus ojos v en , parpados prueban

In sus

i t i s s tr ik in g th a t th e p sa lm ist should say

"parpados" in a d d itio n t o " ojos," because th e word c a l l s a tte n tio n not o n ly to God's e y e s , bu t t o a part o f h is e y e s.

Man's e y e lid s do not

p o sse ss th e power o f v is io n ; th a t the p sa lm ist should a tt r ib u te th is power to God's e y e lid s v a s t ly augments God's m ajesty.

This p lay o f

im agination app arently escapes Fray D iego, who reduces th e concept and the metaphor to "mira piadoso . . . l a co n cien cia ex p lo ra ." The l a s t th r e e v e rse s o f th e Psalm read: 5 6

7

Jehova prueba a l ju s to ; pero en cuanto a l maligno y a l que ama l a rapina, su alma l e aborrece. Sobre lo s malos llo v e r â la z o s , fuego y a z u fr e , y h o r r ib le tempestad: tai- sera l a porci6n de' su copa. Porque ju sto es Jehova, y ama l a j u s t i c i a ; e l hombre r ecto rnirara su r o str o .

The corresponding l i n e s in Fray D ieg o 's tr a n s la tio n : Que e l que ama l a maldad, aborrecida Tiene â su misma alma; y D ios, airado, L lovera lo s p e lig r o s por do quiera Sobre l o s pecadores; su bebida, A lo s m alos, y su erte postrim era Seran fuego y a z u fr e , y a l airado V iento tem pestuoso corrompido; Porque e s ju sto e l Senor, y siempre amante De l a j u s t i c i a ha s id o , Y â l a equidad miro de buen semblante. The C ipriano de V alera tr a n s la tio n p r in ts the la s t li n e o f th e Psalm as "al r e c to rnirara su ro stro " ; s im ila r ly , th e King James B ib le reads "His countenance doth behold the u p rig h t."

Fray D ieg o 's tr a n s la tio n

agrees w ith th e l a t t e r read in g s; h is in te r p r e ta tio n i s th a t God looked b en ign ly upon th e j u s t man, rath er than th a t th e j u s t man s h a ll look

210

upon God.

The d iffe re n c e between the two in te r p r e ta tio n s i s n ot

fundam ental, but i t should be noted th a t on t h is one p o in t. Fray D ieg o 's reading seems to b e more accurate.

"Traduccion d el himno Te Deum" (p. 1 9 6 ).

The Te Deum laudamus

and one o f the commonly used E nglish tr a n s la tio n s read; Te Deum laudamus: t e Dominum confitem ur. Te aeternum Patrem, oinnis te r r a veneratur. We p r a ise th ee, 0 God; we acknowledge th ee to be th e Lord. A ll th e earth doth worship th ee; th e Father e v e r la s tin g . For h is tr a n s la tio n o f the L atin "oinnis te r r a ," Fray Diego makes use o f a phrase seen a ls o in h is tr a n s la tio n o f th e Eighth Psalm; in th a t work, th e tr a n s la tio n is : ICuan grande y adm irable. Oh"Senor;- . . . Es tu nombre adorable En todo cuanto c ie r r a La redondez inmensa de l a tie r r a ! In h is Te Deum, Fray Diego says; A VOS, Senor, por Dios os alabamos, Y vuestro senorio Sobre todas la s cosas confesamos. Padre eterno de inmenso poderfo Os venera l a t ie r r a Y cuanto e l orbe en c ier r a . Fray Diego chooses to express u n iv er sa l p r a ise o f God by sa y in g , not ju s t " a ll th e earth," but "the earth and a l l th a t i t h o ld s," im plying here what he says in th e Psalm;

th a t man, the b ir d s , the crea tu res o f

the f i e l d , the fis h e s th at roam the se a s — a l l s in g God's p r a is e .

In

the Te Deum, the heavenly host adds i t s v o ic e: Tibi omnes A ngeli; t i b i C oeli e t P o te s ta te s ; Tibi Cherubim e t Seraphim in c e s s a b il i voce proclamant; Sanctus, Sanctus, Sanctus: Deus Sabaoth!

211

P le n i Slant c o e l i e t te r r a m a j e s t a t is g lo r ia e tu a e . Te g lo r io su s chorus Apostolorum, Te Prophetarura la u d a b ilis numerus, Te Martyrum candidatus laud at e x e r c itu s . Te per orbem terrarum sancta c o n fite tu r E c c le s ia , Patrem immensae m a je sta tis; Venerandum tuum verum e t uni cum F iliu m , Sanctum quoque Paracletum Spiritum .

Fray Diego fo llo w s c lo s e ly the o r ig in a l te x t and does not expand upon i t to th e e x te n t th a t he expanded upon th e Psalm s. Por a n g élico s coros sin reposo, Los c ie lo s y la s a lta s p o testa d e s, E l querubin y s e r a fin gozosos. Con in cesa n te canto Os entonan e l Santo, Santo, Santo; Senor de lo s e j ê r c it e s t e r r ib le . C ielo y tie r r a rebosan v u estra g lo r ia Y majestad; e l coro g lo r io so De a p o s to le s , e l ntomero p la u sib le De p ro feta s y e j ê r c it o in v e n c ib le De m ârtires tr iu n fa n tes Os alaban con sta n tes. La i g l e s i a , por e l mundo d ifu n d id a. Os c o n fie sa por Padre om nipotente, Y à vu estro venerado U nigénito Hijo coeterno, Y a l E sp ir itu Santo juntamente. A comparison o f the t e x t s shows th a t th er e i s such a c lo se r e ­ la tio n s h ip between th e o r ig in a l and Fray D iego's versio n th a t the l a t t e r i s j u s t what th e poet says i t i s , a tr a n s la tio n and nothing more. Fray D iego's Te Deum is not a work o f the im agination and i t i s un­ l i k e l y th a t i t was intended to be.

There i s no fix e d sta n z a ic form

and the a lte r n a tio n o f seven- and e le v e n - s y lla b le lin e s i s ir r e g u la r , as i s the rhyme scheme throughout the f i f t y - e i g h t lin e s th a t comprise th e poem.

Fray D iego's b e s t lin e s (24-36) are th e fo llo w in g : IOh ungido d el Senor! IOh C risto amado! TÛ eres Rey de l a g lo r ia , Hijo ete rn a l d el Padre sem piterno. TÛ, habiendo de tomar e l se r humano Para lib r a r a l hombre, que c r ia s t e .

212

Con ser inmenso, no t e d esd ign aste De l a e stre ch a clausura De la s entranas de una virgen pura. TÛ, venc i da l a m uerte, nos a b r is te Con poderosa mano Las puertas e t e r n a le s . Que l a culpa f a t a l h ab ia cerrado A todos lo s m o rta les. Although Fray Diego i s only tr a n s la t in g , he i s s t i l l a b le to in j e c t in to th e s e v e rse s the ardor o f h is own d ev o tio n , because the sentim ents o f th e Te Deum co in cid e w ith h is own.

These v erses r e c a ll th e b e st

l i n e s o f "Las edades," in which th e poet speaks elo q u en tly o f the i l l s th a t b e f e l l man as a r e s u lt o f " la culpa f a t a l."

As noted e a r li e r by

M artinez de l a Rosa, Fray D iego, as p r ie s t and p o e t, could n o t remain in d if f e r e n t to a m atter o f such importance. "Traduccion d el himno V en i, Creator" and "Traduccion d e l ca n tico M agnificat" (pp. 195-196).

There i s no doubt th a t p ie ty in s p ir e d the

t r a n s la tio n o f th ese works, but th e r e s u lt s are n o n eth eless u n d is tin ­ gu ish ed .

These hymns do n o t have th e fresh n ess o f th e Psalms ; q u ite

th e co n tra ry , th ey are ponderous in t h e ir language and overburdened w ith d o c tr in e .

The imagery i s n ot th a t o f a P sa lm ist, but th a t o f a

d e v o tio n a l m is s a l.

For example, the second cuarteto o f V en i, Creator

reads ; TÛ, que abogado f i e l eres 11amado, Del A ltisim o don, perenne fu en te De vida e te rn a , c a r idad fe r v ie n te , ^ s p ir itu a l un cion , fuego sagrado . . . In s p it e o f th e words " ferv ien te" and "fuego," there i s n e ith e r passion nor ferven cy in th e se l i n e s .

Fray D iego's own o r ig in a l v e r s e s , for

example th o se d ep ictin g the c re a tio n o f man or th ose th a t lament the e x i l e from p a r a d ise , are more fe r v en t and im passioned because they

213

ai*ise out o f the p o e t's personal d evotion . The major d iffe re n c e between the two hymns i s the v erse form: the V eni, Creator i s w ritten in c u a r te to s , th e M agnificat in the l ir a form.

The l a t t e r i s a ir ie r and scans more r a p id ly becuase o f the

s e v e n -s y lla b le l i n e s , but again th e conception does not r i s e above th e merely d o c tr in a ir e .

One stanza w i l l i l l u s t r a t e t h is poin t ( lin e s

31-35): Colmo a l n ecesita d o De b ie n e s soberanos con la r g u e za , Y a l r ic o , confiado En su fa la z riq u eza , Dejo vacio en m isera pobre za. Ko doubt th e moral le ss o n en clo sed in th e s e l in e s j u s t i f i e d to Fray Diego t h e ir tr a n s la tio n in to Spanish v e r s e . equal to th e in te n tio n .

But the r e s u lt i s not

CHAPTER V I

STYLISTIC DEVICES IN THE POETRY OF FRAY DIEGO GONZALEZ

In th e p reced in g chapter, th e poems o f Fray Diego were examined from the p oin t o f view o f co n ten t, h is t o r ic a l o r autobiographical a p p lic a tio n , i f any, r e la tio n s h ip to other poems, and m e tr ic s; r te was made then o f some o f Fray D iego’ s s t y l i s t i c d e v ic e s , but th ey did not g en e ra lly r e c e iv e d e ta ile d a tte n tio n .

At t h i s p o in t, th e r e fo r e ,

i t would be w e ll to con sid er th e various devices th a t Fray Diego used to achieve h is p o e tic e f f e c t , as w e ll as some which he may not have inten ded.

For th e sake o f convenience and o rd er, th ese s t y l i s t i c

devices and e f f e c t s w i l l be examined under the fo llo w in g headings; Anaphora Archaisms Balance Cacophony Circum locution The e s t r i b i l l o Hyperbaton

In terio r rhyme Parentheses and a sid es The poet addresses th e poem Run-on r e p e t it io n S eries

Anaphora, or th e r e p e titio n o f s u c c e ssiv e l i n e s .

o f a word or phrase a t the beginning

Fray D iego's autobiography, H is to r ia de D e lio ,

i s o f g rea ter h i s t o r i c a l than p o e tic in t e r e s t , although more fa c ts about th e p o e t’s l i f e can be learn ed elsew here.

P o e t ic a lly , th e most

n otable lin e s are th e fo llo w in g (7 9 -9 0 ), in which the p oet w rites w ith more warmth than anywhere e ls e in the poem, and in which th e device o f

21k

215

anaphora h e lp s b u ild th e em otion.

The p oet c o n fe sse s here h is f i r s t

y o u th fu l lo v e for M elisa, La de lo s negros o jo s, La de luengas p esta n a s. Sin par hermosa y â l a par d is c r e t a; Cansadora de en ojos. De asaz duras entranas. Que de amor no domo cruda sa eta . A t a l f ie r a s u je ta El anima y rendida. Amaha ardientem ente, Amaba tiernam ente, Amaba s in templanza y s in medida; Amaba, en f i n , de modo. Que aun ahora a l recordarlo tiem b lo tod o. The p o e tic in t e n s it y reaches i t s peak a t "sin templanza y s in medida" ; i t b eg in s to d e c lin e w ith the p a ren th esis "en fin " and spends i t s e l f in th e l a s t h e n d ec a sy lla b le .

Another example o f anaphora occurs l a t e r

in th e same poem; t h is tim e, however, th e r e s u lt

is le s s fe lic ito u s .

Both Melendez Valdês and Fray Diego rea cted e f f u s iv e ly to everything th a t came from the pen of J o v ella n o s; th ey unw isely accorded pre­ eminence t o th e m agistrate in the areas o f poetry and good ta s te . When J o v e lla n o s sen t h is e p i s t l e , Jovino â sus amigos de Salamanca, th en . Fray Diego responded to Jo v in o 's a lle g o r ic a l dream in th is fash ion ( l i n e s 196-206): I Oh sueno peregrinol iOh asombro la stim o so l ÎOh v erdad d isfrazada sabiamente! IOh sonador d iv in o l IOh J o se f m isterio so ! T6 ensenas, tu reprehendes dulcemente; Tu poderosamente El sueno s a c u d is te . En que siempre y a ciera n , Y s in g lo r ia murieran B a tilo , con Liseno y D e lio t r i s t e . Such p r a is e , w hile apparently s in c e r e , i s almost d i s t a s t e f u l in i t s exaggeration and e ffu s iv e n e s s .

216

In "El murciélago a le v o so ," Fray Diego uses every means a t h is d isp o sa l to achieve a humorous e f f e c t , none to g reater advantage than the r e p e titio n o f one or two words in su ccessiv e l in e s o f v e rse .

In

l in e s 113-120, th ere i s a b r e a th le ss accumulation o f to r tu r e s th a t th e poet w ishes upon th e p e r fid io u s bat: Te puncen y t e sa je n . Te tundan, t e golpeen, te ra a rtillen , Te piquen, t e a c r ib ille n . Te d ivid an , te corten y t e rajen , Te desraiembren, te partan, te d eg ü ellen . Te h i endan, te d e su e lle n . Te e str u je n , t e aporreen, te magullen, Te deshagan, confundan y a tu rru llen . Balanced a gain st th e constant r e p e titio n o f "te" i s the wide v a r iety o f verb s; what r e s u lts i s a sense o f both v a r ia tio n and sam eness.

In

i

the l a s t l i n e , the poet reta rd s the raomentum by changing th e stru ctu re o f the -line-. Other examples o f anaphora occur in "Al pens ami en to ," lin e s 29-32; in "V isiones de D e lio ," lin e s 59-62; in "Triunfo de Manzanares," l in e s 106-112; and in "El d ig ^ o s ," lin e s 1-6 and 89-96.

Archaisms.

By h is use o f archaism s. Fray Diego adds to the in ­

genuousness o f h is p oetry.

His vocabulary and syntax are thorouglily

Spanish, th a t i s , fr e e o f fo r e ig n words and co n str u c tio n s.

Fray Diego

reaffirm s both the Spanishness o f h is poetry and h is p la c e in the n a tiv e tr a d itio n by h is stu d ie d but not ex cessiv e use o f a rch aic terras. In "A M elisa. Buenos," the p oet w r ite s ( lin e

23):

aguesto acordado"; "A M elisa. Cancion" ( lin e 71):

"Y apenas hube "Luego que ya me

vido confiado"; "A l a quemadura d el de do de F ilis " ( lin e 3 5 ): una fr e sc a rosa"; "A L i s i , malaguena" ( lin e 68):

"Vi do

"Si en una sazon

217

mesma” ; "A V ecin ta desdenosa" ( li n e 8 l) :

" . . . tr a s l a lu en ga noche

vino e l dia";. "El tr iu n fo de Manzanares" (lin e 119):

"Extendiendo lo s

brazos luengamente"; "A. la s nobles artes" ( lin e 92) :

"0 en l a caverna

escura"; "V isiones de D elio" ( li n e 3 0 ):

"Fuime â dormir s in c u it a . "

Fray Diego a ls o r e v e r ts o c c a s io n a lly to an older p r a c tic e o f changing th e i n f i n i t i v e ending - r to -]^ b e fo r e an encl.'L ie pronoun.

Thus, he

w r ite s c o n te n e llo fo r con ten erlo in "El tr iu n fo de Manzanares" ( li n e 86); r e d u c illa fo r r e d u c ir la in "V isiones de D elio" ( l i n e 4 ); sab e l l o fo r sa b erlo in "Cadiz transformado" ( lin e 86). P a sto ra l poetry attem pted to escape from th e everyday world through the use o f assumed names and the creation o f an im agined Arcadia; i t w as, h is t o r i c a l l y speaking, a s te p back in time and th e r e fo r e out o f tune w ith th e fa st-c h a n g in g E ighteenth Century.

The models fo r

p a sto r a l p oetry were the b u c o lic p o e ts o f a n tiq u ity and th o se o f the Spanish s ix te e n th and seven teen th c e n tu r ie s; Fray D ieg o 's archaisms are an attempt to recapture l i n g u i s t i c a l l y an old er and presumably sim pler p eriod in man's h is to r y . B alance.

P ro fesso r Monguio has pointed out th a t one o f th e r e ­

m iniscences o f th e s ix te e n th century in Fray D iego's p oetry i s th e t r i membered l i n e , p a r tic u la r ly as seen in G arcilaso.

One example th a t

P rofessor Monguio c it e s i s Fray D ieg o 's lin e from "A L isen o," "Cifrô e l nlamen, l a g r a cia y l a hermosura" ( li n e 1 0 ).

Other examples are

"V irtuosa, g r a tu ita y s in mudanza," l i n e 91 o f "iPor que ta n riguroso" ; " E n tristecen , oprimen y sofocan" and "Con p lan ta le n t a , torp e y p erezosa," lin e s 12 and l6 from "Endechas â Mirta a u sen te."

The balance

in th ese l i n e s i s la r g e ly rh yth m ical, but there are oth er k in ds o f

218

balanced l i n e s in Fray B ie g o 's p o e tr y , l in e s th a t balance and c o n tr a s t. h ot a l l are o r ig in a l w ith Fray Diego.

Fray L uis de Leon w ro te, in h is

" E p ita fio a l tumulo del P rin cip e Don C arlos," . Aqui yacen de Cârlos l o s d esp o jo s. La parte p r in c ip a l v o lv io s e a l c i e l o , Con e l l a fue e l valor: quedole a l su elo Miedo en e l corazon, lla n t o en l o s o jo s. Fray D iego, in h is "Llanto de D e lio ," a ls o b a la n ces c ie lo a g a in st s u e lo , then borrows in t a c t Fray Luis de L eon's p e r fe c tly -b a la n c e d l i n e fo r h is own d ir g e on the death o f the In fa n te Don Carlos Eusebio ( l i n e s

99 - 100 ): V olaste a l c ie l o , en f in ; d e ja s te a l s u e lo , Miedo en e l corazon, lla n t o en l o s ojos Sometimes Fray Diego balances s y n ta c tic a l elem ents at th e same tim e th a t he c o n tr a s ts le x i c a l elem en ts; fo r example, in lin e s 223-226 o f "Las edades": I Que conexion, que 6rden, que a r t i f i c i o En hu esos, n e r v io s, venas se guardabal iQue b e lle z a , que t a l l e y sim e tr ia En todo e l e x te r io r m anifestaba! Three o f th e se l i n e s are tri-membered; th a t i s , they form a sym m etrical tr io .

F urther, the members o f the l i n e s , c o n e x io n -b e lle z a , o r d e n - t a lle ,

a r t if ic io - s im e t r x a , are balanced a g a in s t each oth er as nouns.

F in a lly ,

the in t e r io r p a r t—h u eso s, n e r v io s , venas—i s co n tra sted to " el e x ­ te r io r " ; i t i s th e r e fo r e appropriate th a t th e p oet a lso co n tra st "guar dab a" and "m anifestaba. " Sometimes the balanced elem ents are c lo s e to each o th e r , as in "A V ecin ta desdenosa" ( l i n e s 27 -3 3 ): Dando a l c i e l o a le g r ia A lzas lo s h e llo s o jo s A Jualindo, que e l a lt o tech o mora

219 (iQ uién v i6 Y luêgo con Los d ir ig e s (îQ uiên v io

mas claro d ia ? ), enojos â D elio s in demora mas t r i s t e hora?).

At other tim e s , th ey may he separated hy as'many as fo r ty l i n e s , as in "Las edades"; lin e 392:

l in e 352:

"iOh amarga culpa!

"IOh amarga culpa!

ICuanto mal t r a j i s t e l " ;

ITanto mal h i c is t e ! "

Other examples o f balanced and o ften c o n tr a stin g lin e s are; "Delio y Mirta" ( li n e s 6 I - 6 3 ) : E l no v iv e s in t f , tu s in e l mueres: TÛ l e s ig n e s do quiera que se ansenta; E l sig u e por do quiera que tû fu e r e s. "A L i s i , malaguena" ( lin e s 13-1%, 9 1 -9 2 ): . . . l a dicha de araarla Al tiempo de perderla. A le g r e s, s i t e acoge, T r is te s s i t e deshecha. "Al pensamiento" ( l i n e s 3 -k , 11-12, 1 5 -1 6 ): De aumentar mis teraores Con proponer mis danos . . . S i h r i l l a en e l O riente, Se o fu sca en e l Ocaso. C recien tes y menguantes, A lie n to s y desmayos. Cacophony.

For a i l i t s te c h n ic a l b r i l l i a n c e , "El murciêlago

alevoso" co n ta in s a t l e a s t one cacophonous l i n e ; in the BAE i t i s p rin ted as l i n e IO8 :

"De p a lo s por l o s cahos a fila d o s ."

In the Verger

t e x t , l i n e I I 6 , th e v a r ia n t reading i s "y p a lo s por lo s cahos aguzados." Although th e r e i s l i t t l e to choose from between the two rea d in g s, per­ haps the BAE v e r sio n g r a te s l e s s on the ear. Mirta" in c lu d e s th e s e l i n e s (91-92):

The eclogu e "Delio y

220 LAj Wirt a I s i lo s dioses inm ortales De esr o s nuestros afanes caso h ic ie r a n . . . The 1812 and I 817 v a ria n t reading is ; caso h i c i e r a n . "

" si de e s t a s nuestras cosas

A g a in , th e BAE re a d in g , a lth o u g h f a r from m e l l i f l u o u s ,

i s th e l e s s j a r r i n g .

Twice more in th e same poem F ray D iego u s e s th e

combination e s t o -n u e s tr o , w ith equally dissonant r e s u lt s : "En e s t a n u estra s e lv a umhrosa y f r i a"; l in e 21 it: sel-"-as d e le it o s a s ."

lin e I 8 8 :

"En e sta s nuestras

Tlie f a u lt with " e sta (s) n u e str a (s) s e lv a ( s ) ,"

in a d d itio n t o th e r e p e t itio n o f the same vow els and consonants, l i e s with the g a llo p in g rhythm th a t i s e sta b lish e d by th ree consecutive words t h a t a re a c c e n te d a l i k e .

C ircum locution,

During the co n sid era tio n o f Fray D iego's

"Traduccion d el Salmo V III," i t was sa id th a t "El rebano v e stid o de lana" was probably the p o e t's worst lin e ev er; n o t because o f the sound or rhythm o f th e l i n e , but because o f th e mental p ic tu r e th a t i t evokes.

The B ib lic a l poet (or tra n sla to r) d id n o t disdain th e common

noun o v e ja s , but Fray Diego did.

In h is amorous p o etry . Fray Diego

did not scru p le to use ovej a s , but he app arently f e l t th a t a tra n s­ la tio n o f th e Eighth Psalm c a lle d for a grander term; hence the circum­ lo c u tio n .

I t i s n o t th e only one that Fray Diego used:

in the same

tr a n s la tio n th e p oet w r ite s " la region vacia" fo r "air" ( li n e 37) and in "Las edades," " la f r i a / C rista lin a region" fo r "water" ( lin e s 154155 ) .

F o rtu n a tely , however, such circum locutions are not frequent in

Fray D iego's p o etry .

The e s t r i b i l l o .

In two poems h a v in g t o do w ith d ream s, "A

M e lisa . Buenos" a n d "C âd iz tra n s fo rm a d o ," F ra y D iego r e p e a ts an

221 e s t r i b i l l o which has th e e f f e c t o f s ’umnarizing th e content o f the poem and u n ify in g i t .

The e s t r i b i l l o in ''A M elisa. Sueilos" i s "Maldije la

v i g i l i a , alab e e l sueno," in d ic a tin g th a t the p o e t 's dreams were only chim eras, but p r e fe r a b le in any case to r e a l i t y . i s e x p lic it ly

The theme o f th e poem

s ta te d in th e l a s t stroiza; Ansioso deseaba Que, ya que so lo e l sueno fue mi v id a . Mi v id a un continuado sueno fu era .

Thus, when th e poet ends h is lam ent, he puts th e e s t r i b i l l o in the pre­ sen t te n se t o in d ic a te th a t he s t i l l p r e fe rs dreams to r e a lit y : digo l a v i g i l i a , alabo e l sueno."

"Mal-

In "Cadiz transformado," the poet

r e la t e s a s e r ie s o f dreams which seem im p ossib le o f attainm ent; the e s tr ib illo

th e r e fo r e i s "Y era sonar e l cieg o que v e ia ."

Twelve

stan zas have t h i s r e fr a in as t h e ir l a s . lin e ; a g a in , th e theme o f the poem i s d is illu sio n m e n t: . . . ofendido De l a verdad, con ceno M re l a v id a , y con p la c e r e l sueno. And, as in th e previous poem, th e l a s t lin e s o f th e e n tir e poem are a paraphrase o f th e e s t r i b i l l o : . . . s i sofiaba El cieg o que v e ia . Era s o lo sonai' lo que queria. Fray Diego u se s the e s t r i b i l l o to good e f f e c t because, as th e poem pro­ g r e s s e s , as th e poet r e la t e s su c c e s siv e d is illu s io n m e n ts , th e e s t r i ­ b i l l o takes on in c r ea sin g poignancy, which the p oet tempers a t th e end o f th e poem by a re-p h rasin g o f th e theme.

Hyperbaton.

The in v ersio n o f normal word order i s one o f the

most e f f e c t i v e resources o f poetry:

th e poet c a l l s a tten tio n t o the

222 words by h is d e lib e r a te misplacem ent o f them.

Gongora, fo r example,

begins h is "Fabiola de Polifem o y Galatea'* w ith the l i n e s , Ê stas que me d ic to , rimas sonoras, c u lt a S I, aunque b u co lica T alia . . . And Sor Juana b eg in s her most famous sonnet w ith " Ë ste, que v e s , engano co lo rid o . . . "

While Fray D iego, to o , m anipulates word o rd er, freq u en tly

to f i t th e demands o f rhyme, extreme hyperbaton i s not c h a r a c t e r is tic o f h is poetry.

There are a few in sta n ces o f hyperbaton, however, th a t

are n o tice a b le because o f t h e ir u n esth etic e f f e c t .

For example, in

"iPor que tan rig u ro so ," l i n e s T-11 read: . . . C elia , cumplido Un lu s tr o solaraente, Para ser educada, Del seno es separada Maternal . . . Lines-. 18-20 o f "D elio y Mirta" read: Antimio me ha sacado del engano, Luego que a pacer vino e sta r ib e r a Con su ganado, ayer. The su b ject o f "vino" i s th e shepherd Antimio, although t h is i s n ot immediately apparent.

In "El tr iu n fo de Manzanares," l in e s 76-79 read:

. . . cuan vanamente fa tig â r a E l coro fem enil de la s v e s t a le s . Con himnos v ir g in a le s , De l a dormida d io sa la s o reja s . . . One w ishes th at th e p o et, once reso lv ed to f i t th e goddess w ith " o reja s," had hidden the word in s id e the l i n e by keeping th e normal word order; t h is would have destroyed the rhyme, o f course— th e n ex t lin e ends w ith "quejas"— , but a l l p o e tic e f f e c t i s destroyed in any c a se .

Indeed,

the e f f e c t i s com ical and one must needs p ity th e s le e p in g goddess, who, one im agines, w i l l wake as did Bottom in Midsummer N ig h t's Dream, to fin d h e r s e lf encumbered w ith a p a ir o f o u ts iz e o r e j a s .

223 I n te r io r rhyme.

In " D elio, en l a gra n ja ," Fray Diego e sta b ­

lis h e s th e b a s ic assonance o f the poem w ith th e words "humano tr a to r e tir a d o ," which occur in th e second l i n e ; th e r e a fte r , and throughout the poem, th e assonance in a-o^ is repeated s e v e r a l tim es. occur a ls o ;

Other rhymes

tiem p o-tiern o in one l i n e , r ie g o -se n tim ie n to and pompa-

a ir o sa in o th e r s.

I t was s a id in the preceding chapter th a t th e r e ­

curring sound p a ttern s o f t h is poem gave i t u n ity and compactness, although oth er fa c to r s a lso co n tr ib u te , such as th e r e p e titio n o f many words.

But from the o u t s e t, th ere i s a u n iform ity o f sounds in

"D elio, en l a granja," tr a c ea b le d ir e c t ly to th e in t e r io r rhyme. The opening lin e o f "A M elisa. Cancion" rep eats n ot only vowels hut consonants as w e ll:

"Andando yo cazando . . . " ; w ith in the f i r s t

s ix lin e s occur th e words "extraho," "notando," and "dragon," plu s "paloma" and "boca."

In one l in e o f "D elio y Mirta" ( l i n e 1 5 ) , the

r e p e t itio n i s ex a ct:

"De tu mudanza nace mi mudanza."

L ater in the

same poem ( li n e s 1 8 - 2 0 ): Antimio me ha sacado d el engano, Luego que £ pacer vino e s t a rib e ra Con su ganado, ayer. IOh s u e r te impia! In a d d itio n to the in t e r io r rhyme o f sacado-engafio-ganado, th ere i s the rhyme o f p acer-ayer in th e middle o f th e l i n e .

As a m atter o f

f a c t , due to th e syn tax o f th e se l i n e s , th e in t e r io r rhyme i s more obvious than th e meaning. R elated to th e phenomenon o f in t e r io r rhyme, y e t d if fe r e n t from i t , i s th e r e p e t it io n o f a s in g le sound, in t h is case a vow el, as in lin e 8 o f "A Liseno":

"Do con modo no usado . . . "

S t r ic t ly speaking,

th is i s n ot in t e r io r rhyme because on ly one vowel o f the end rhyme i s

22h repeated; nor i s i t a l l i t e r a t i o n because th e rep eated sounds (u su a lly consonants) are n o t i n i t i a l .

N e v er th e le ss, th e sound o f th e lin e i s

im m ediately apparent. P aren th eses and a s id e s .

Some o f Fray D iego’ s many parentheses

f i t n a tu r a lly in t o th e co n tex t o f the poem and add to the con versation al q u a lity o f th e p o e tr y .

For example, "A M elisa . Suenos" begins with

th e se l i n e s : Son aba y o , M elisa (Ya que q u ieres saber lo que son ab a); Sonaba yo que en un ameno prado . . . At oth er tim e s , th e p a r e n th e sis i s meant to express emotion, as in lin e s 7 and 71 o f th e same poem:

"(iOh fa v o r no esp erado!)"; ” (iOh

su e rte f i e r a i ) , " or l i n e 62 o f "En lo s d ias de L isi" :

" ( IOh venturosa

e s t r e l l a l )." ’ O ften tim es, th e p a ren th esis i s w r itte n in to th e poem s o le ly to s a t i s f y th e demands o f rhyme.

Thus, l in e s 32-33 o f "A la s

nobles a r te s " : . . . do anida de aves gran c u a d r illa ( iOh rara m a ra v illa ) . . . On o c c a s io n , p a r a lle l parentheses are con trasted and balanced a g a in st each oth er:

"A V ecin ta desdenosa," l i n e s 30 and 33:

(iQ uien v io mas cla ro dia?) (iQ uién v io mas t r i s t e hora?) While such balanced p aren th eses are e f f e c t iv e w ith in th e poem, is o ­ la t e d exclam ation s s c a tte r e d throughout the p oetry break th e con­ t in u it y o f th e l i n e or d is t r a c t from the meaning.

The mere in se r tio n

o f an exclam ation in t o a l i n e does not malte th a t lin e em otionally charged.

Line 37 o f "A V ecin ta desdeSosa" reads "Se miran (îquê

225 p r o d ig io !) en un in sta n te out o f c o n te x t.

b u t the l i n e is not dram atic, in or

Tension and drama b u ild w ith in a poem by means other

than p a r e n th e tic a l exclam ations.

Fray Diego proved t h i s h im se lf by

r e ly in g on o th er , more e f f e c t iv e r h e to r ic a l d ev ices. The poet addresses the poem.

One o f the c h a r a c te r is tic s o f

Fray D iego's lo v e ly r ic s i s th a t th e poet freq u en tly ste p s o u tsid e th e poem, as i t w ere, in order to address i t .

The reason behind th is pro­

cedure i s th a t th e lo v e ly r ic s were w r itte n t o be s e n t to Cadiz, Malaga, and S e v ille ; the p o et, th e r e fo r e , dispatched h is poem by adding a f in a l v e r s e , o s te n s ib ly addressed only to the poem i t s e l f .

"A

V ecin ta desdenosa" ends w ith th e se lin e s : . . . pero d eja, Cancion, y co rta e l h ilo ya â l a queja; Q u e-tra s-la luenga noche vin o e l d ia . iNo v i s t e como e l a lb a se r e i a , Y que V ecinta hermosa Comienza ya a m irarte carinosa? The l a s t stan za o f "Cadiz transformado" i s Cancion, ve â M irta, y di de parte mia Que s i de mi verdad y amor dudaba, Sepa que s i sonaba E l ciego que v e ia . Era so lo sonar lo que queria. "V isiones de D elio" ends in t h is fa sh io n : Cancion, ve y d il e a M irta, de mi p a r te . Que se digne s iq u ie r a de l e e r t e , Y s i acaso a certa re â in te r p r e ta r te , Vuelve â decirme tan dichosa su e r te . H ere, th e poet i s in e f f e c t asking fo r a r e p ly , which as the years went b y, M irta was l e s s and l e s s disposed to g iv e . Fray D iego's most s u c c e s s fu l apostrophe to a poem comes a t the end o f "A L i s i , malaguena."

226 Vê â Malaga volando. Mi dulce c a n tile n a , Y goza l a ventura Que â tu amer se l e n ie g a , Y s i lo g ra s la dicha De lle g a r â la s b e l l as Manos de L is i hermosa. M il veces se la s b esa; Y vuelve lu ego, lu êg o , A traerme la s nuevas, A le g r e s, s i t e acoge. T r is t e s , s i t e deshecha. Run-on r e p e t it io n .

A s t y l i s t i c d ev ice t o which Fray Diego

o c c a s io n a lly has recourse i s the r e p e t itio n o f a word or short phrase th a t has ju s t occurred in a preceding l i n e .

This d evice i s s e e n , fo r

example, in "Llanto de D elio" at a p o in t ( li n e s 36-38) where D e lio i s addressing th e R iver Manzanares: . . . r e t ir a del Tajo tu carrera; D el Tajo, que despues de s e r t e s t ig o Inhumane d e l caso doloroso . . . And in "Las edades," lin e s 289-290, 319-321: Y siempre â l a razon obedeciesen; A l a razon, que â todo p r é s id ia D el soberb io Satan e l tr iu n fo in ju s te . Con a s tu c ia tra id o ra conseguido; E l tr iu n fo in j u s te , que con grave canto This i s an o r a to r ic a l fig u r e th a t Fray Diego probably transposed from h is sermons ; i t len d s i t s e l f w e ll to the s t a t e l y march o f se r io u s p oetry, e s p e c ia lly to the h en d ecasyllab ic l i n e , because i t r e it e r a t e s and emphasizes a p o in t at the same time th a t i t provides a dramatic pause—a ste p backward, as i t were, fo r more r e f le c t io n .

But t h i s

run-on r e p e t it io n a ls o jo in s h e p ta sy lla b le s and h e n d ec a sy lla b le s, as in "iPor que tan r ig u r o so ," lin e s 1 3 -lk , 52-53: . . . cual victim a in o c e n te , L levada â l a clausura.

227 Que t û juzgas eterna sep u ltu ra? Eterna sepultura.

Donde en perpetuo o lv id o . . . P a g a d esp u es t r i b u t e Dando â su tiempo e l sazonado fr u to . E l fr u to sazonado . . .

A il the examples so fa r are from ser io u s p o etry ; th ere are Fray D iego's f e s t i v e and amorous v erses as

others in

w e ll. V7ehave already

seen,

in another con n ection , th ese lin e s from "A M elisa. Suenos": Sonaba yo, M elisa (Ya que quieres saber l o que sonaba); Sonaba yo que en un ameno prado . . . Lines 49-52 from "En lo s dias de L isi" : !Ay t r i s t e s , ay dichosos Los o jo s que t e vean! Dichosos s i t e agradan. T r is te s se lo s d esp recia s. More has gone in t o the above stanza than j u s t the device o f run-on r e p e titio n — th ere i s a ls o anaphora, b a la n ce , c o n tr a st, change o f view­ p o in t, in t e r io r rhyme— , but the su ccess o f th e se lin e s i s due as much to th is one sim ple device as to any o f th e o th ers. S e r ie s .

"El murcielago alevoso" i s an example o f how Fray

Diego accumulates nouns and verbs in a s e r ie s in order to quicken the pace o f a poem.

He b egin s rather s lo w ly , combining verbs w ith other

parts o f speech; he i s not ready y e t , in th e e i ^ t h sta n z a , to heap verb upon verb as he w i l l do la t e r in th e poem.

Beginning w ith lin e

6 0 , the poet w ishes upon th e treacherous b a t th e fo llo w in g in d ig n it ie s ,

t o be i n f l i c t e d by " el jugueton g a t i l l o b u llic io s o * : A1 v e r t e , se r e t ir e y se contenga, Y bu fe y se espeluce h o rro riza d o , Y a lc e e l rabo esponjado, Y e l espinazo en arco suba a l c i e l o .

228 Y con lo s p ie s apénas toque e l s u e lo . Mas lu égo recobrado, Y d el primer horror co n v a lecid o , El pecho a l su e lo unido, Traiga e l rabo d el uno a l o tro la d o , Y cosid o en l a t ie r r a , observe a ten to ; Y cada movimiento Que en t i lle g u e â notar su p e r sp ic a c ia . Le provoque a l a s a lto y l e de audacia. En f i n , sobre t i venga. Te acometa y u lt r a j e s in r e c e lo . Te arra stre por e l s u e lo , Y â Costa de tu dario s e e n tr e te n g a ; Y por caso la s unas a fila d a s En tu s a la s clavadas, Por echarte de s i con s o b r e s a lto , . Te arroje much as veces è lo a lt o . The p oet i s d e lib e r a te in h is d e sc r ip tio n because th e ca t i s s t i l l ca u tio u s and u n certain ; no such u n certa in ty or caution w i l l the boys d isp la y as th e y work t h e ir vengearice upon th e unfortunate b a t.

The

tempo o f the poem in crea ses as the p oet arms th e young boys De p ie d r a s, de n a v a ja s, de agu ijo n e s . De d a v o s , de punzones, De p alos por lo s cabos a fila d o s . . . The poem reaches i t s clim ax as the p o e t, in a b r e a th le s s rush o f words, enumerates th e f in a l to r tu re s th a t th e band o f urchins s h a ll rain upon th e b a t:

Te puncen y te s a je n . Te tundan, t e golpeen, te m a r tille n . Te piquen, t e a c r ib ille n . Te d ivid an , t e corten y t e r a j en. Te desmiembren, t e p artan , t e d e g ü e lle n . Te hiendan, t e d e s u e lle n . Te e str u je n , te aporreen, t e m agullen. Te deshagan, confundan y a tu r r u lle n . Here th ere are no in terv en in g a d je c tiv e s or adverbs:

only a c tio n words,

one a fte r an oth er, as the p oet vents h is s p it e upon the animal th a t so fr ig h te n e d M irta. Words in s e r ie s provide comic e f f e c t in a poem such as "El

229

m urcielago a le v o so ," although th e scene i t s e l f i s hardly amusing; the rush o f lan gu age, th e accum ulation o f words, i s more im portant than th e meaning o f the words.

The same device can work toward se r io u s

ends, as in "Las edades":

in l i n e s 106-107, Fray Diego d escrib es the

prim ordial chaos : . . . inerm e, v a c ia , inform e, impura. La fa z cenida de t i n i e b l a oscura. Later in the same poem. Fray D iego l i s t s the e v il s th a t came in to the world because o f man's f i r s t d iso b ed ien ce in the.Garden o f Eden ( lin e s 369-375): Por t i en e l mundo en tro l a muerte f r i a , Por t i l a enfermedad y l a d o len cia , La vergonzosa desnudez, l a impia Siempre tra id o ra i n f i e l c o n cu p iscien cia . La ig n o ra n cia , e l o r g u llo , l a in s a c ia b le C o d ic ia , l a hambre y sed , y l a in d ig e n c ia , Y de- o tros monstruos turba innumerable . . . Again,

th e p oet b egin s grad u ally: th e f i r s t lin e has o n ly " la muerte

fria " ;

th e second has " la enfermedad y l a d o len cia ." Then th e p itc h

r is e s as th e poet d escrib es (w ith o u t punctuation) "con cu p iscien cia" ; i t descends s l i g h t l y a t "La ig n o r a n c ia ," r is e s again a t " la hambre y sed ," then ta p ers o f f in the l a s t l i n e . The poems.

same procedure, in varying d eg rees, can be seen in other

In "A M elisa. Suenos" ( l i n e s 6 O-6 1 ): Tendremos ya l o s dos comun e l tech o , E l a ju a r, e l v i v i r , l a mesa, e l lech o .

"a la s n ob les artes" ( lin e s 55 - 5 8 ): . . . v a i l e s , m ontes, s e lv a s , r i o s , A d is ta n c ia p r é c is a , Accion sin movimiento; Fondes, l é j o s , a ltu r a s y vacxos . . . "Al Rio Guadalete" ( lin e s 1 3 -2 0 ):

230 Bien c ie r to que s i t û la s contem plâras, El paso a c e le r â r a s, Por lo g ra r mejor a ir e , mejor s u e lo , Mejor s o l , mejor lu n a , mejor c i e l o . iQue t ie n e e s t e terren o . Que pueda parecerte d e lic io s o ? Es âspero, fra g o so , D esigu al, penascoso, nada ameno . . . The f i r s t s e r ie s may be a rem iniscence o f G a r c ila so 's Egloga primera, in which Eemeroso addresses the dead E lis a : . . . y en l a te r c e r a rueda contigo mano a mano busquemos otro lla n o , busquemos otros montes y o tro s r f o s , otros v a lle s flo r id o s y sombrios . . . T hese, in sum, are th e major s t y l i s t i c d evices th at Fray Diego used fo r variou s reasons and w ith varying r e s u l t s .

O bviously, caco­

phony was n o t one o f th e d ev ices th a t Fray Diego intended to use in h is p o e tr y ; i t r e s u lte d , rath er; from apparent c a re le ssn e ss w ith r e ­ gard to th e sound of c e r ta in l i n e s . d evices was in te n tio n a l:

But th e use o f the oth er s t y l i s t i c

the poet co n scio u sly chose archaism s, fo r

example, in s te a d o f contemporary term s, because he had an e f f e c t in mind.

And he used the e s t r i b i l l o knowing f u l l w e ll i t s dramatic

p o s s ib ilitie s .

The use o f oth er d e v ic e s , such as in te r io r rhyme, may

have been l e s s d e lib er a te on th e p o e t's p a r t.

But whatever th e ca se,

th o se d e v ic e s th a t Fray Diego used most s u c c e s s fu lly he used in h is b e st p o e tr y .

His b e st would have to in clu d e some parts o f "Las edades,"

although th a t poem as a whole i s n o t s u c c e s s fu l, and h is f e s t i v e p ie c e s : the lo v e l y r i c s , the in v e c tiv e , th e anacreontic songs and endech as.

CONCLUSION

Study o f th e E ighteenth Century has o n ly begun.

I t s h a ll he

the o b lig a tio n o f c r i t i c s and sch o la rs to approach t h is century w ith open minds and to regard i t as a le g itim a te p a rt o f Spanish lit e r a r y h is to r y , rath er than a c u ltu r a l h ia tu s between the Golden Age and Romanticism.

The six te e n th and seventeenth c e n tu r ie s , fo r a l l t h e ir

b r illia n c e , b elon g to another world; the modern world began to tak e shape in th e eig h teen th century, in Spain as w e ll as in France, England, and th e Worth American c o lo n ie s .

Obviously th e nin eteenth century

cannot be con sid ered except in th e l i g h t o f th e century th a t preceded it.

To exclude th e Spanish eig h teen th century from lit e r a r y s tu d ie s ,

then, i s to imply th a t Romanticism was born in a vacuum, with no n a tiv e in flu e n c e s working upon i t .

Yet, Spanish s tu d ie s commonly s lig h t a

period o f a hundred f i f t y years as i f those y ea rs had l e f t no tr a c e whatever upon H ispanic l e t t e r s or s e n s ib ili t y .

A f r u it f u l area o f study

would be th e in flu e n c e o f th e Spanish eigh teen th century upon L atin American w r ite r s , such as Fernandez de L iza rd i.

I t can no more be

assumed th a t L atin America was immune to eig h teen th -cen tu ry in flu e n c e s than th a t Romanticism was.

I t i s tim e, th e r e fo r e , to d iv e s t o u rselv es

o f the o ld p reju d ices and p la titu d e s about th e eig h teen th century and to study i t s accomplishments as w e ll as i t s shortcom ings. Azorin has su ggested th a t th e e i^ ite e n th century was a tim e o f 231

232

d e c e n tr a liz a tio n , a tim e when lit e r a r y currents emanated from th e pro­ v in c e s .

S e v ille as a cen ter o f p o etic r e v iv a l could be stu d ied along

w ith i t s lin k s w ith Salamanca la t e in the century.

Much o f th e co rres­

pondence th a t passed between th e w riters o f th e day i s s t i l l in p riv a te hands ; in clu d ed in t h is correspondence no doubt are numerous in e d it o s . The lib r a r ie s and a rch ives o f r e lig io u s orders should a lso y ie ld valu ab le inform ation to th e in v e s t ig a t o r .

D e fin itiv e t e x t s and b ib lio g r a p h ies

have y e t to be com piled fo r many of th e eig h teen th -cen tu ry w r ite r s . In th e case o f Fray Diego Gonzalez, i t i s c e r ta in th a t the Madrid e d itio n s o f 179^ and I 8 l 2 , the V alencia e d itio n o f I 817 , and th e BAE do n o t con tain a l l o f h is poems, or a t l e a s t do not p r in t com­ p le t e , accurate t e x t s o f a l l h is poems.

Both Fray Juan Fernandez de

Rojas and Cueto admit to "p u rification " o f th e Gonzalez canon.

This

stu d y, th e r e fo r e , cannot claim to have exhausted a l l research p o s s i­ b i l i t i e s w ith regard to Fray D iego's w r itin g s; t h i s research w i l l n e c e s s a r ily co n tin u e, although i t is doubtful th a t more inform ation about Fray Diego would s u b s ta n tia lly change c r i t i c a l opinion about him or accord him a h igh er p o s itio n in Spanish l e t t e r s than th e modest one he now h o ld s. The ten or o f c r i t i c a l opinion regarding Fray Diego was s e t as lon g ago as I 787 by Leandro Fernandez de Moratin.

In a l e t t e r dated

a t P a r is, he wrote: iQue quiere u ste d que l e diga del padre Gonzalez y de sus p o esia s? De é l , que es un excelente r e li g io s o , lle n o de s o lid a v ir tu d , de am abilidad, de candor, de m odestia: de sus p o e s ia s, que no se levan tan cuatro de dos d el su e lo ; im ita en e lla s â Fr. Luis de Léon; pero e s to no b a sta . . . E l padre Gonzalez se ha propuesto im ita r â Fr. Luis de Léon, y e l le c t o r echa de v e r, en primer lu g a r , que l a im itacion es muy d ê b il, y en

233 segimdo, que auuque h u b iese logrado ig u a la r â su mod e lo , to d a v îa no b a s ta b j, por que e l term ino de l a p e r fe cc io n e s t a mucho mas a d e la n te . From h is own day t o th e p r e se n t. Fray Diego has been known as an im ita ­ to r

o f Fray L u is.

This was to be expected:

both were A u g u stin icn s,

both liv e d in Salamanca, in th e same m onastery, both d e lig h te d in th e countryside about Salamanca and e s p e c ia lly in t h e ir gran,ja. La Flecha. And both were p o e ts , although no one w i l l claim now th a t th ere i s any comparison between them; Fray Luis was immeasurably th e b e tte r poet. In a s e n se , th e poets co lla b o ra ted :

Fray Diego tr a n s la te d some o f the

Psalms th a t Fray Luis did n o t and he continued the l a t t e r ' s e x p o sitio n o f th e Book o f Job.

D oubtless th e se e f f o r t s were v ery s a t is f y in g to

Fray D iego, b u t they are now a l l but fo r g o tte n .

Whatever Fray Diego

came t o th ink o f amorous and f e s t iv e poetry in h is l a t e r y e a r s , i t i s c le a r th at h is ta le n t la y in th a t d ir e c tio n rath er than in the d ir e c tio n o f d id a c tic or r e lig io u s p o etry .

In s p it e o f a l l th a t he may have

w ished, "Las edades" must have been a disappointm ent, in a d d itio n to b ein g a y e a r s-lo n g t r i a l .

What Fray Diego might have w r itte n , without

in te r fe r e n c e from the w ell-m eaning J o v e lla n o s , can o n ly be co n jectu red , but i t i s n o t l i k e l y th a t he would have w r itte n too much more o r very d if f e r e n t ly .

His h e a lth and th e o b lig a tio n s o f h is o f f ic e took in ­

c r e a sin g ly more tim e. Fray Diego could n ot have known a wide range o f amorous ex­ p erien ce; h is lo v e p o etry , th en , i s o f n e c e s s ity ingenuous and ad oles­ c e n t, f u l l o f c r o s s -r e fe r e n c e s , borrowed l i n e s and r e p e t it io n s .

But

L ean d ro F ern an d ez de M o ra tin , l e t t e r to D. E ug en io de Llaguno y A m iro la , d a te d a t P a r i s , May 2 5 , 1 7 87, in O bras p o s tu m a s, Tomo segundo (M ad rid : R iv a d e n e y ra , I 867 )» p . 99*

23h i t i s a lso generous and f u l l o f th e p o e t's good n a tu re.

I f i t la ck s

p a ssio n and p ro fu n d ity , i t a ls o la c k s p e tt in e s s and s p it e :

th e f i t s

o f pique and je a lo u sy are more l i t e r a r y pose than r e a l a t t it u d e s . F in a lly , w hile th e poet h im se lf i s o ften vague in o u tlin e as th e per­ sonage D e lio , h is female characters are more l i f e l i k e and p ro v o ca tiv e; M irta e s p e c ia lly , in the eclogue "Delio y M irta." A p o e t, l i k e any oth er a r t i s t , has the r ig h t t o be remembered fo r h is b e st work, even i f th a t work does n o t equal th e su p erio r pro­ d u ction s o f broader im aginations and fin e r s e n s i b i l i t i e s . has th e r ig h t t o be remembered f o r h is b e s t lo v e l y r i c s .

Fray Diego VJhile "El

m urcielago alevoso" does him c r e d it , i t has a lso overshadowed other com positions th a t share i t s good q u a l i t i e s .

BIBLIOGRAPHY

A la rco s, E m ilio . ’’Cienfuegos en Salamanca." B o le tin de l a Real Academia Espancla, 18 (l9 3 l)> 712-730. A tkinsonj W illiam . "Luis de Leon in Eighteenth Century P oetry." Revue H ispanique, 8 l ( l 9 3 l ) , 363-37^. A zorin .

"El s i g l o X V III." C lasicos c er n id o s, Obras com plétas, Tomo VI. Madrid: A gu ilar, 1948.

Brenan, Gerald. The L iteratu re o f th e Spanish P e o p le . World P u b lish in g Co., I 9 6 5 .

Cleveland:

C adalso, J o sé. P o e sia s, Poetas l i r i c o s del s ig l o XVIII. mer© , BAE 6 1 . Madrid: Rivadeneyra, I 87I . Cano, Juan. La P o etica de Luzan. P r e ss, 1 9 2 8 .

Toronto:

Tomo p r i­

U n iv e r sity o f Toronto

Ce an Bermûdez, Juan A gustin. Memorias para l a v id a d el Excmo Senor D. Caspar Melchor de Jove L lanos, y n o tic a s a n a lit i c a s de sus obras. Madrid: Fuentenebro, I 8 l4 . C ossfo, J o sé Maria de. "Naturalisme, convencionalism o: Fray Diego G onzalez." P oesia espanola; notas de a s e d io . Buenos A ires: E spasa-C alpe, 1952. C otarelo y Mori, E m ilio. E spanola, 1897.

I r ia r te y su época.

Madrid:

Real Academia

Cueto, Leopold© August© de. "Bosquejo h i s t o r i c o - c r i t i c c de l a p o e sia c a s te lla n a en e l s ig l o XVIII." Poetas l i r i c o s del s i g l o XVIII. Tomo primer©, BAE 6 I . Madrid: Rivadeneyra, 1869. D ia z -P la ja , Fernando. La vid a espanola en e l s i g l o XVIII. E d ito r ia l A lberto Martin, 1946.

Barcelona:

D ia z -P la ja , Guillerm o. H isto r ia de p o e sia l i r i c a esp a n o la . Segunda e d ic io n corregida y aumentada. Barcelona: E d ito r ia l Labor, 1948. 235

236 Fernandez de Rojas, Fray Juan. "En l a muerte del R. P. M. Fr. Diego Gonzalez, d el Orden de San A gustin." . P oesias d e l M. Fr. Diego Gonzalez. A dvertencia a l le c t o r y n o tic ia s d e l M. Gonzalez por Fray Juan Fernandez de R ojas. Madrid: I 8 l2 . Forner, Juan Pablo. "Carta d e l ton to de l a duguesa de Alba â un amigo suyo de America." Poetas l i r i c o s d el s i g l o XVIII. Tomo segundo, BAE 63. Madrid: Rivadeneyra, I 87I . Exequias de l a lengua c a s te lla n a . E dited by Pedro Sainz y Rodriguez. "C lasicos C a ste lla n o s," 6 6 . Madrid: Ediciones de "La L ectura," 1925» Gonzalez, Fray Diego Tadeo. P o e s ia s , Poetas l i r i c o s d e l s ig lo XVIII. Tomo primero. BAE 6 I . Madrid: Rivadeneyra, I 87 I . _________. P oesias d e l M. Fr. Diego Gonzalez. A dvertencia a l le c to r y N o tic ia s d e l M. Gonzalez por Fray Juan Fernândez de Rojas. Madrid: I 8 l2 . _________.

P oesias d e l M. Fr. Diego Gonzalez.

V alencia:

I 817 .

Helman, Edith. "Some Consequences' o f the P u b lic a tio n o f the Informe de le y a g ra ria by J o v e lla n o s." Estudios h isp a n ic o s; homenaje a Archer M. H untington. W ellesley , Mass.: W ellesley C ollege, 1952. Hurtado, Juan y Angel G onzalez-P alencia. H isto r ia de l a lit e r a t u r e esp an ola. S exta e d ic io n , corregida y aumentada. Madrid: SAETA, 1 9 4 9 . J o v e lla n o s, Caspar Melchor de., D ia r io s. Estudio prelim in ar de Angel d e l Rio. E dicion preparada por J u lio Somoza. 3 volumenes. Oviedo: I n s t it u t o de E studios A sturianos, 1953. Obras publicadas e in e d it a s . Coleccion hecha ê ilu str a d a por D. Candido N ocedal. Tomo primero, BAE 46. Madrid: Rivadeneyra, I 858 . L arrieu, Robert e t Romain Thomas. H isto ire i l l u s t r e de l a l i t t é r a ­ tu re espagnole; p r é c is méthodique. Pai’is : D id ie r , 1952. Lâzaro, Fernando. "La p o e sia l i r i c a en Espana durante e l s ig lo XVIII. La l i r i c a salam antina. " H isto r ia general de la s lite r a tu r a s h is p â n ic a s . Vol. IV, S ig lo s XVIII y XIX, Primera Parte. Publicada bajo l a d ir e cc io n de D. Guillermo D ia z -P la ja . Barcelona: E d ito r ia l Barna, 1956. Léon, Luis de. de Léon, su v id a , Madrid:

De l o s nombres de C risto , Obras d el maestro Fray Luis E sc r ito r e s d e l s ig lo XVI. Tomo segundo. Precêdelas e s c r it a por don Gregoria Mayans y S is c a r . BAE 37 « Rivadeneyra, I 872 .

237 ._____ . Obras p o ë tic a s , Obras del m aestro Fray Luis de Le6n, E sc r ito r es del s i g l o XVI. Tomo segundo. BAE 37« Madrid; Rivadeneyra, I 8 7 2 .. Luzân, Ign acio de. La P o e tic a , 6 reglas de la p o e s ia en g e n e r a l, y de sus p r in c ip a le s e sp e c ie s. Corregida y aumentada por su mismo Autor. 2 Tomos . Madrid: Sancha, 1 7 8 9 . Martinez de l a Rosa, F ran cisco. "Apêndice sobre l a p o e sia d id âct i c a espanola." Obras, Tomo 111. E dicion y estu d io pre­ lim in ar de D. Carlos Seco Serrano. BAE I 5 0 . Madrid: Riva­ deneyra, 196 2 . M cClelland, 1. L. L iverpool:

The O rigins o f the Romantic Movement in Spain. I n s t it u t e o f Hispanic S tu d ie s, 1937*

Melendez V aldes, Juan. "Cartas in ëd ita s de Melendez Valdes â J o v ella n o s." Poetas lir i c o s d e l s ig lo X V lll. Tomo segundo. BAE 6 3 . Madrid: Rivadeneyra, I 87 I. P o e s ia s , Poetas l i r i c o s d e l s i g l o X V llI. BAE 6 3 . Madrid: Rivadeneyra, I 87 I .

Tomo segundo.

Mérimée, E rnest. "Etudes sur l a lit t é r a t u r e espagnole au XIXe s i è c l e : Melendez V aldes." Revue H ispanique, 1-11 ( 189 ^1 8 9 5 ) , 217 - 235 . Monguio, L uis. "Fray Diego Tadeo Gonzalez and Spanish Taste in Poetry in th e E ighteenth Century." Romanic Review, 52 (December, 1 9 6 1 ) , 241-260. M oratin, Leandro Fernandez de. Rivadeneyra, I 8 6 7 .

Obras pSstumas.

Tomo segundo.

Madrid:

Korthup, George T yler. An Introduction to Spanish L ite r a tu r e . 3rd e d itio n , r e v ise d and enlarged by N icholson B. Adams. Chicago: U n iv e r sity o f Chicago P r e ss, I 9 6 O. O m ste in , Jacob. "D esiderata in Eighteenth-Century Spanish Scholar­ sh ip ." H ispan ia, XXXV (August, 1 9 5 2 ), 296-300. Quintana, Manuel J o sé . " N o ticia h is to r ic a y l i t e r a r i a de Melendez." Obras complétas de Don Manuel José Q uintana. BAE 19. Madrid: Real Academica Espanola, 1946. _________. "Sobre l a p o e sia c a ste lla n a d el S ig lo X V lll." Obras com­ p lé ta s de Don Manuel Jose Quintana. BAE I 9 . Madrid: Real Academia Espanola, 1946. ■Real de l a Riva, César. "La escuela p o e tic a salam antina d el s ig lo X V lll." B o le tin de l a B ib lio te c a Menendez y P elayo, 24 (1 9 4 8 ), 321-364.

238 Samaniego, F é lix Maria. "Los huevos m oles. Parodia de "El m urcielago alevoso" d el Maestro Gonzalez." . Poetas l i r i c o s d el s i g l o XVIII. Tomo primero. BAE 6 l . Madrid: Rivadeneyra, I 87 I . SeLold, R u sse ll P. "Contra l o s m itos a n tin e o c lâ sic o s esp a n o les." Papeles de Son Armadans, XXXV {196 k); 83-114. Sempere y Guarinos, Juan. Ensayo de una b ib lio t e c a espanola de lo s majores e s c r ito r e s d e l reynado de Carlos I I I . Ed. f a c s im il. Madrid: Iraprenta r e a l , I 785 - I 789 /Madrid: Credos, 19627* Serrano y Sanz. Valdes."

"Poesias y c a rta s in é d ita s de D. Juan Melendez Revue H ispanique, IV ( I 897 ) , 266-313*

Valbuena P rat, Angel. H is to r ia de l a lit e r a t u r a esp a n o la . Tomo I I . Barcelona: Gustavo G i l i , 1937* V e rg e r, Léon. " E l m u rc ié la g o a le v o s o ." (1917 ), 294- 301 .

Revue H is p a n iq u e , XXXIX

APPENDIX I

ECLOGUE ON THE DEATH OF FRAY DIEGO GONZALEZ BY FRAY JUAIf FERNANDEZ DE ROJAS In cluded in the I 8 l2 e d itio n o f Fray D ieg o 's poetry i s th e fo llo w in g eclogu e on the death o f Fray D iego, one o f th e few ex ta n t works t y Fray Juan Fernandez de R ojas.

As might he expected . Father

Fernândez e x to ls Fray D iego's p o etry , "Que â l a s f ie r a s , y p la n ta s conmovia" and which earned the p oet " el Laurel de Apolo Soherano"; more im p ortan tly, t h is eclogue i s Father Fernandez's tr ib u te t o Fray Diego th e person and p r ie s t in whom h is fr ie n d s found "su gozo, y su con su elo, / Su p la c e r , En l a m u e rte

su qu ietud, y su acogida."

d e l R. P . M. F r. D iego G o n z a le z , d e l o rd en de San A g u s tin .

Egloga.

L iseno.

R o se lio .

Poeta.

Liseno E ste es d el grande y celebrado D elio El tumulo f a t a l; aqui reposa Yerto y s in aima aquel P a sto r , R o se lio . Aqui cu b ierto con l a f r i a lo s a Yace â pequeno esp a cio reducido El que a l C ielo e lev ô su voz- g ra cio sa . E l que canto con pecho enardecido. De Marte y d el amor; y lo s arcanos Del inm ortal Autor e s c la r e c id o , Resuenen juntamente en e s to s lla n o s Los tu y o s, y mis lugubres acen tos Que ablanden â lo s D ioses soberanos: 239

240

Resuenen nu estro lla n t o , y sen tim ien to s Por l a muerte de D e lio , eternaraente Reus an do p la c e r a s , y co n ten tes. R o selio lAy Liseno! iq u âl hado? que a ccid en te Pué b a sta n te â e x tin g u ir con sana impura Los rayes de e sa lu z resp lan d ecien te? 10 m isero d e stin e ! 6 desventura De e s t a Aldea i n f e l i z , que en un memento Perdio toda su g lo r ia , y hermosuraî P erdio todo su lu s t r e , y ornamento! P erdio â D e lio , 6 dolor! y su a le g r ia D esparecid, y to m ô se en sen tim ien to. E l Sol ya no aparece quai s o lf a . Ni e l Z ëfiro resuena entre la s f l o r e s , Ni s e oye de la s N infas la armonia. Ya no cantan lo s tie r n o s Ruisenores Infundiendo p la c e r , n i a l Dies de Gnido Tributan h o lo ca u ste lo s P astores. D ichose t û , L iseno, que has podido D isfr u ta r la r g o tiempo sus can tares, Y â l o s suyos tu s ecos has unido. D ichoso tû . que en unos mismos Lares Has v iv id o con ê l , mientras gozaba De su armonia a l claro Manzanares. Una misma Cabana os resguardaba, Ig u a l era e l descanso, y alim ente Que l a Santa Amistad os preparaba. Mas yo Imezquino! apenas de su acento P e r c ib i l a dulzura y melodia Quando l a Parca iay D ios! corto su a lie n t o . Liseno Dichoso f u i io R o selio ! quando o ia El d u lce son de su Rabêl g r a cio so . Que a la s f i e r a s , y plan tas conmovia. Y aun porque entonces fu i tan ven tu ro so , Es mayor a l p résen te e l desconsuelo Por carecer de amigo tan p recio so . B ien a s i como causa amargo duelo Al que por suyo tie n e un P a ja r illo La lib e r t a d que cobra en raudo vuelo; M ientras que ve seren e, y s in s e n t i l l o Cruzar m il veces por l a vaga e s fe r a Al R uisenor, Canario, 6 X ilg u e r illo . iO quien ahora demostr a r pudiera De D e lio l a v ir tu d , l a c ie n c ia , y g lo r ia Con c la r id a d , y narracion sin céra !

2^1 10 Pastor digno de inm ortal memorial Tû a l Agueda Serrano ca sca jo so Le adq uirirâs rail tim bres en l a H isto r ia . D ira, quando l e vea, e l presuroso Pasagero: "bebamos de e s t e R io, Que es Padre d e l in g en io p r o d ig io so ." No se h a lla ra en e l Bosque mas sorabrio Arbolj en cuyo tronco no se lea n Las le t r a s de t u nombre, D e lio mio. Las Ninfas b e l l a s , que tem plar desean El sentim iento de tu in fa u s ta muerte R epitiendo tus versos se recrean . Los Zagales tambien en mal tan fu erte Los r e p ite n , y cantan; pero en vano Procuran a leg ra rse de e s t a su e r te . Todos lamentan t r i s t e s e l insano Rigor d el crude brazo, que en tu vid a Descargo e l golpe f i e r o , é inhuamno. Mas iquê mucho que llo r e n tu p artid a S i en t i hailaban su gozo, y su consuelo, Su p la c e r , su qu ietud, y su acogida? Tû tempiabas a l t r i s t e e l descon su elo, TÛ a l perdido l a senda demostrabas Por donde caminase s in r e c e lo . TÛ a l Joven con donayres recreab as, Y con sen ten cia s nobles a l Anciano, Y a la s Ninfas tambien quando cantabas. Ayl que de v eces f u i s t e en e s te lla n o Coronado de yedra v iv id e r a Y d e l Laurel de Apolo Soberanol Y quûntas l a rosada, y fr e s c a Aurora Dexo â Titon d e l sueno p oseid o Por escuchar tu -voz encantadorai A tu s Canciones Eco conmovido P lacid o respondia, y d ila ta b a Por todas la s Campinas e l sonido. El Coro de la s Driadas dexaba La h ab itacion sombria, y d e lic io s a , Y suspense y absorto t e escuchaba. Mas lay! su e rte enemiga y rig u ro sa l Con que inhumanidad p r iv a s te a l s u e lo , De l a g lo r ia y ventura mas p r e cio sa l R o selio Crezca e l f ie r o d o lo r , y descon su elo, Y cubra de t in ie b la , y sombra obscura Su r efu lg e n te a lb o r e l cla ro C ielo . Suene en lla n t o confuso l a espesura; Prados, cubrid de lu to -vnestras flo r e s Y -vuestras l i n f a s , P u en tes, de tr is tu r a .

2h2

D ecid, b e lla s Zagalas y P a sto r e s, (De fu n e sto Cipres l a sien cen id a, Y elevando h a sta e l Cielo lo s c l amores ) " D elio , ornamento de la humana v id a , "Tû v o lv e râ s primero a l ser humano "Que olvidem os nosotros tu p artid a." Acuerdaseme ahora lay! quan en vano Me ocurre a l a memoria esta fin e z a Que entonces me dexo de gozo ufanol Acuerdome que un dia en l a aspereza Del Bosque, l e h a lle s o lo , y deseoso Qui se o ir de su canto l a d estreza . Y ê l a l punto con ayre magestuoso Cantê por agradarme una E legia Al son de su Rabêl tiern o y donoso. Y lu e g o sonriendo me decia: Z agal, toma a L iseno por modelo, Y en breve im itarâs l a Musa mia. Liseno 0 D e lio î 6 dulce Amigo! 6 mi consuelo! Qui en me p riv é de t f con mano airada. Que â mî no me cubrio con mortal v elo ! lAy Parca rig u r o sa y despiadada! Parêceme que aun veo en su semblante Tu f i e r a imâgen con furor pintada. Y que con voz marchita y p a lp ita n te Me d ic e a l e sp ira r : Liseno mio, Yo muero, yo t e p ie r do en e s t e in s ta n te . R oselio Suspende, Ami go, e l lla n to , que tu b r io Va cediendo a l d olor; y no es cordura Que raye e l sen tim ien to en d esvario. Y de D e lio en l a t r i s t e sep u ltu ra Tributemos lo s ûltim os honores A l a Amistad sagrada, honesta y pur a. Poeta Cesaron de llo r a r lo s dos P a sto r e s, Mas no de su sp ir a r; mientras cubrian E l tûmulo de D e lio , con la s flo r e s Que a l v ie n to m il aromas esp arcian; Y quando a c tiv o s con mayor o u idado T ales o f i c i o s â su Amigo hacian; He aqui que se aparece un Genio alado Cubierto de explendor, e l quai risu en o Les d ixo en c la r a voz con dulce agrado:

2k3

P a sto res, c o n v e r tid en alhagüeno P lacer, vuestro d o lo r; tempiad e l l la n t o , D elio descansa en paz y en dulce sueno Libre y a de in q u ie tud, de err o r , y esp an to.

APPENDIX I I

"LOS HUEVOS MOLES," A PARODY OF "EL MURCIELAGO ALEVOSO" I n d ic a tiv e o f the immediate su c c e ss and p o p u la rity o f Fray D iego’s burlesque poem i s the fo llo w in g parody by F e lix Maria Samaniego ( l7 ^ 5 - l 8 0 l) , author o f th e famous Fabulas m orales.

Samaniego

fo llo w s c lo s e ly th e stru ctu re o f "El m urcielago a lev o so ," even to the c a ta lo g u in g o f to rtu res to be i n f l i c t e d upon the treacherous anim al, in t h is case a r a t.

Of Samaniego's e f f o r t , Cueto says

Samaniego en e s t a parodia no ig u a la l a riq u e z a de d ic c io n d e l o r ig in a l, y se conoce que n i lo p reten d io tampoco; pero agrada por su lig e r e z a p ica resca .^ "Los huevos moles" Compuso Juana un dia De huevos moles razonable fu en te . Sin saberlo su t i a , Que l a hubiese renido im p ertin en te; Con e l l a se promete Obsequiar â P erico , un mozalbete Que con l a n in a tuvo un c ie r t o acaso; Mas e sto no es d e l cuento. Al cuento paso. Hecha l a fu en te ya, guardarla p ien sa En lu gar reservado: En e fe c to , m e tio la en l a despensa; Y dejando cerrado, A l a labor se vuelve muy serena; Mas e l diablo s u t i l , que e l mal ordena, Desbarato de Juana e l fin o in te n to , E ligien d o un raton por instrum ente.

^Cueto, BAE 6 l , p. 396, n. 1). 2hk

2 h3

E sta v i l cria tu r a Por todo e l aposento d isc u r r ia Con ta n ta trav esu ra . Que agente de n égocies p a recia ; Buscando d ilig e n te Manjar en que pudiera hin car e l d ie n te; Y encontrando l a fuente cara a cara. Para e l f e l i z as a lto se prépara. Jamas e l g rieg o acometio a l troyano, E l Carapeador â Muza, A Bayaceto e l Tamorlan tir a n o . Ni en cruda escararauza Con ta n ta fu erza e l godo poderoso, T e stig o de e l l o e l c ie l o lum inoso, Acometio â lo s vandales y su ev o s. Corne e l raton arrem etio â lo s h u e v o s .• A l l i , s in temer dane, Trabado de palabra con l a fu e n te , La t r ip a de mal ano Saca, como se d ic e vulgarmente, S in que a d v ir tie s e que l e esta b a viende Un enorrae gatazo reverendo, Capon de h o c ic o , s i uetras ca stra d o , Y de manchas e l lemo remendado. El anim al, que mira D e-su ama- e l descuide b ie n n o ta b le , S a lta a l vasar in tr é p id e , y se t i r a A l raton m iserab le, Cual hûsar bravo 6 capitan prusiano Se tir a n â un francés rep u b lican o; Siendo e l f in a l del tem erario d u elo , Fuente, gato y raton v en ir a l s u e lo . Al golpazo, medrosa Acude prestam ente l a so b rin a , Y entrando presu resa. La causa d el e s tr é p ito examina; Y viendo ya perdidos Los huevos de P erico a p e te c id o s , E l li a n t e empana sus hermosos s o l e s , J u sta s exequias de le s huevos m oles. Mas volviendo a P e r ico , que ignorante Del catastrop he estaba, Y de Ju an ita l a expresion amante S o l i c i t e esperaba, Cuando fué n o t ic ie s o d el suceso Estuvo a pique de perder e l s e s o . En ta n te grade, que con rabia f i e r a Recenviene a l raton de e s t a manera: "iPor que, monstruo raalvado, E l in fe r n a l hocico a l l i m etiste? Ni 6como impunemente Pensabas a s a lta r la virgen fuen+e.

21*6 Dejândonos, en pena tan tir a n a , A m s in p la to , sin consuelo â Juana? "El c ie l o vengador, b e s t ia disform e, E je cute c o n tig o . En pena de d e lit o tan enorme. Un horrendo c a stig o ; P ersig a n te muchachos y c ria d a s, Caigas en ratoneras b ien armadas, Y l o s v iv ie n te s de l a t ie r r a todos Te m ortifiquen de d is t in t o s modos. "P iguente, pues, s a l tones Pulgas y garrapatas y l a d i l l a s , Y chinches y moscones, M oscas, m osquitos, tâbanos, p o l i l l a s , A lg u a c ile s aranas Con toda l a caterva de alimanas Y e l brevisim o c in if e lig e r o . De tu d e lit o incauto trom petero. "Emboscadas de gatos te a p risio n en . Te aranen y exterm inen. Te p e r sig a n , te acosen, t e arrüinen Y nunca t e perdonen; En la z o s corred izo s, trampas, r ed es, H uevicida s a c r ile g o , t e enred es, Y s in poder parar en todo e l mundo, Rat-on*" Caxn errante y vagabundo, "Te muerdan, t e m altraten. Te ahoguen, despedacen, m ortifiq u en . Te r e v ie n te n , t e maten. Te descoyunten y te s a c r ifiq u e n ; Te ahorquen, t e estrop een . Te despenen, t e arra stren , t e aporreen. Te h ie r a n , t e d e su e lle n , t e m utilen; C h ille s , r a b ie s , t e mueras, t e a n iq u ilen . "Con pena tan debida tu in s o le n c ia Quedarâ castiga d a ; Yo con ten to , y en f in , por consecuencia. Mi J u a n illa vengada; Mas porque â todos s ir v a de escarm iento El f i n de tu goloso a trev im ien to . E ste e p it a f io , en tu sep u lcro e s c r it o . Conserve e l ejemplar de tu d e lit o E p ita fio . "Aquel cuya voraz h ambre ra b io sa No perdono j a le a , ni peradas En e l vasar mas a lto reserv a d a s. Ni queso, n i manteca, n i o tr a cosa; "El que burlo m il veces l a famosa V ig ila n c ia gatuna, y sus c e la d a s.

247 Trampas y ratoneras celetirad as. Hoy, raton caminante, aqui reposa. "Suspende, pues, e l paso y considéra Cuân cara l e costo su g o lo sin a Y e l hacer que Juanita se a f l i g i e r a . "Asi enmendar tu vida déterm ina; A dvirtiendo que pena tan s ev era Es e l amor e l juez que l a fulm ina."